ehension and adequate
enjoyment of a musical composition is impossible.

* * * * * *

CONTENTS OF THE PHRASE.--The question may arise, what is it that makes
a phrase,--the rhythm, harmony, or melody? Strictly speaking, all
three; for music subsists in the ceaseless co-operation of these three
primary elements of composition, and no phrase is wholly complete
without the evidence of each and all. Generalizing the definitions
already given, the function of each of these primary elements may be
thus described: The element of harmony regulates the choice of the
tones that are to sound together; the upright shafts of tone (chords)
which determine the _body_, or framework, of the music. The element of
melody regulates the choice of single tones, selected from the
successive shafts of harmony, that are to form a connected line or
strand of tones (in horizontal order, so to speak),--something like a
chain or chains stretched from harmonic post to post, which describe
the figure or _outline_ of the musical image. The element of rhythm
gives the whole body its _life_,--regulates the choice of varying
lengths, defining the infinitely varied "tapping" of the musical
mechanism.

It is evident, from this, that no vivid, satisfying musical impression
can be created in the absence of any one of these essential elements.
But, for all that, they are not of equal importance; and, in
determining the extremities of the phrase (and of all other factors of
musical structure), the melody takes precedence over harmony and
rhythm. That is to say, that in his analysis of figures, motives,
phrases, periods, and so forth, the student's attention should be
centered upon the melody,--that chain of successive single tones which,
as repeatedly stated, usually describes the _uppermost_ line of the
harmonic and rhythmic body. That is the reason why the illustrations
given in this book are so frequently limited to the melody alone; it is
the pencil point which traces the design, describes the form, of the
musical composition.

LESSON 4.--Procure the _Jugend Album_, op. 68, of Schumann, and mark
the phrases in Nos. 1, 2, 4, 5, 6, 7, 8, 9, 13, 18, 20, and others. In
the given numbers the phrases are all regular,--four measures in length.

Analyze in the same manner Mendelssohn's Songs Without Words, Nos. 27,
22 (first phrase, five measures), 48, 28, 35, and others; occasional
irregularities may be encountered.