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DEFINING THE FIGURES.--It is not always easy to distinguish the figures in a melodic sentence. While they are unquestionably analogous to the words in speech, they are by no means as concrete, nor are they separated as distinctly, as the words upon a written or printed sheet. This is in keeping with the intangible quality of music, and the peculiar vagueness of its medium of expression; the quality which veils its intrinsic purport from the mass of music admirers, and lends it such exquisite and inexplicable charm to all hearers alike.

The following three guides may serve to indicate the extremities of the melodic figures:--

A brief rest, or a longer tone, usually marks the end of a figure. This is fully illustrated in Ex. 6. See also Ex. 10, Ex. 12.

Similarity of formation almost invariably defines the mutually opposed, and therefore separable, divisions of the melody,--both small and large. For example :--

In default of more definite signs, the figures may be found to correspond to the metric groups . Thus:--

This example illustrates the interlinking of the figures, and suggests the difficulty that may be encountered in the effort to define melodic figures. The difficulty is probably greatest in melodies of a lyric character, where it is necessary to sustain the coherency of the sentence; for instance, in many of the Songs Without Words,--see No. 40, No. 22, and others, in which an entirely definite separation of the figures is well-nigh a hopeless task.

THE MELODIC MOTIVE OR PHRASE-MEMBER.--This, as has already been stated, is a somewhat longer section, compounded of two or more figures. Being thus longer, the "breaks" or spaces between motives are generally more emphatic and recognizable than those between the figures, and therefore it is easier, as a rule, to define the extremities of motives.

Melodic motives differ in length from one to four measures; by far the most common extent, however, is two measures, and the student will do wisely to accept this dimension and analyze accordingly, unless there is unmistakable evidence to the contrary. The indications are precisely the same as those illustrated in the preceding two examples as guides for the definition of figures.

For example:--

In the first of these examples the extent of the motives is proven by each of the three given guides: the rest, which marks the end of the first member; the similarity of melodic and rhythmic formation, which proclaims the beginning of the second member, parallel with that of the first; and the regular dimension. In Nos. 2 and 3 there are no rests between the motives, and the melodic formation differs; here it is the standard of two measures that defines the members.

Ex. 3 is a two-measure motive. In Exs. 2, 5, and 6, the motives are all two measures in length.

In the following:--

And in the following, on the other hand:--

the entire four-measure sentence is evidently one motive, for there is no recognizable indication of an interruption at any point. The same is true of the two melodies given in Ex. 8.

The following illustrates an irregular association of members:--

In No. 1, the motive begins squarely with the measure, upon the accented beat. In No. 2, the same motive is enlarged by two tones at the outset, which locates its beginning upon the fourth 8th--the second half of the second beat. In No. 3 the motive begins upon an accented beat, but it is the lighter accent of the 3d beat. The various conditions of unaccented beginnings in Nos. 4, 5 and 6 are easily recognizable. In No. 7 quite a large fraction of a measure precedes the first accent . Examine, also, all the preceding examples, and note the different accented or unaccented locations of the first tone, in each figure and motive.

LESSON 3.--Analyze the third Song Without Words of Mendelssohn ; first of all, locate the principal melody,--it is not always the uppermost line of tones; then divide this melody into its melodic motives, marking the "breaks" which separate each from the following one; the figures may be noted, also, but only mentally. No. 35 may also be analyzed in the same manner.

The factors defined in the preceding chapter are, as a rule, decidedly less than is demanded of a complete phrase, which--as has been intimated--usually consists in the union of two motives,--just as the motive is compounded of figures, and the latter of single tones.

In some, comparatively rare, cases the composer gives a phrase an independent place upon his page, as complete miniature sentence, not directly connected with other phrases. This may be seen, very plainly, at the beginning of the Songs Without Words, Nos. 28, 41, 35, 3, 4, 16. Examine each, carefully, and the nature of the phrase in its most definite form will become apparent.

Such independent phrases are most likely to be found, like the above, at the beginning or end of a larger composition, to which they are related indirectly, as isolated introduction, or postlude. Thus, the following complete phrase appears at the beginning of a song:

Its division into two melodic motives, and the subdivision of these into figures, is plainly marked.

When the phrase assumes such a conspicuous position, and is so complete and definite in its effect as the ones just seen, there is naturally no difficulty in recognizing and defining its extremities. But the task of phrase analysis is by no means always thus easy.

LENGTH OF THE REGULAR PHRASE.--Fortunately for the work of analysis, there are certain established landmarks of forms, so conscientiously observed, and so firmly grounded in the practices of classic writing , that it is generally practicable to fix fairly regular and plausible boundaries to the phrase, notwithstanding the freedom and elasticity which characterize the application of the syntactic principle in music.

The same regularity of dimension will usually be found in all kinds of dance music; in technical exercises ; and in all music of a simple or popular character.

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

Also Beethoven, pianoforte sonata; op. 14, No. 2, second movement ; and op. 26, first movement.

A few cautious experiments may also be made in analyzing any composition which the student may chance to be studying, especially if not too elaborate. The necessary safeguard consists in simply passing over every confusing point, limiting the analysis to those phrases that are self defining, for the present,--until greater experience and fuller information shall have been gained.

CADENCES IN GENERAL.--A cadence is the ending of a phrase. Strictly speaking, every interruption or "break" between figures, and between all melodic members, is a cadence; but the term "cadence" is applied to nothing smaller than entire phrases.

The cadence is the point of Repose which creates the necessary contrast with the condition of Action that prevails more or less constantly during the phrase; and the effect of this point of repose is, therefore, to separate one phrase from the next. The cadential effect is generally produced by two or three chords, the last one of which is called the cadence-chord, and stands, when the cadence is perfectly regular, upon an accented beat of the final measure. This, according to our definition of the phrase, will most commonly be the fourth measure.

For example:

From this the student is not to conclude that every long tone marks a cadence. The rhythmic design of a melody is obtained by a constant interchange of long and short tones, without direct reference to the cadence alone; and numerous examples will be found in which tones of equal, or even greater, length than the cadence-tone occur in the course of the phrase. We have already seen that the end of a motive, or even of a figure, may be marked by a longer tone, or its equivalent in rests; and have been taught to expect a cadence in the fourth measure only, as a rule.

But the direct evidence of a cadence afforded by a longer tone is considered not only unnecessary, but in many cases distinctly undesirable. While cadences are indispensable, in music of clearly recognizable form, it is equally true that they must not be so emphatic as to check the current of melody and harmony too frequently or completely, or destroy the continuity and coherence of the members. And it is therefore an almost invariable practice, especially in music of a higher order, to modify and disguise the cadences by some means or other; that is, to diminish the weight of the characteristic "longer tone,"--to counteract, partially or entirely, the impression of actual cadential cessation, by continuing the rhythmic pulse. This is so very common, and so confusing a device, that the effect of the various methods employed to conceal or disguise a cadence must be thoroughly understood.

In this case the cadence-chord is not modified or disguised in the least, but takes full advantage of the six beats that make the sum of the fourth measure.

The treatment of the cadence is similar to this in Ex. 18.

In Ex. 17, No. 1, the cadence-chord falls, properly, upon the primary accent of the final measure--in this instance the fifth measure, as we have learned. The six beats to which it is entitled are all occupied by the simple reiteration of the final melody tone, while the sense of "interruption" is imparted by the long rest in the lower parts.

It is by thus sustaining the rhythmic pulse, during the measure allotted to the cadence-chord, that the desired dual impression,--that of cadential interruption without actual cessation,--is secured. It is like rounding off a corner that might otherwise be too angular or abrupt.

The question naturally arises: What tones are chosen to provide material for this continuation of the rhythm? They are usually derived from the cadence-chord, or its auxiliary embellishments; and the methods employed may be classified as follows:

The rhythmic pulse is marked in the accompanying parts, as seen in Ex. 15, Ex. 18, and the following:--

Nos. 2 and 3 illustrate the method most commonly adopted in shifting the cadence-tone forward to a later beat; namely, by placing an embellishing tone of the cadence-tone upon the accented beat belonging properly to the latter. Nos. 4 and 5 are both extreme cases; the actual cadence-tone is shifted to the very end of the measure, so that the effect of cadential interruption is very vague and transient,--and will be quite lost unless the player is intelligent enough to emphasize, slightly, the phrasing . See also Ex. 17, No. 2, the first phrase; here, again, the melody runs on to the last 8th-note of the fourth measure.

Further :--

Here follow a few more examples which illustrate the most extreme application of this principle of borrowed tones,--a mode of treatment very common in the music of Mozart, Haydn, and, in fact, all classic writers:--

In some cases it is difficult to determine whether the tones which thus disturb the "repose" of the cadence-measure belong to the cadence-chord , or, as preliminary tones, to the following phrase. Upon careful scrutiny, however, it will be found possible to decide, by examining their melodic bearing, to which phrase they pertain. In Example 22, they are manifestly a part of the present phrase; in Example 23 and 24 they are as certainly preliminary to the phrase which follows. In the following example they seem to constitute an entirely independent little "interlude," without direct reference to either phrase:

Such cases are, as stated, very rare; so rare that the student will do wisely to leave them quite out of his calculations.

In order to elucidate the embarrassing matter still more fully, we shall take two more examples of a very misleading character, which the superficial observer would probably define as elisions, but which are almost certainly regular cases of disguised cadence merely:

The characteristic traits of all these various phases of cadence formation are:--

That the actual cadence-tone in the melody may be of any time-value, from the full extent of the cadence-measure down to the smallest fraction of that measure. In Ex. 19 it was the former, unbroken; in Ex. 17, No. 1, also, but broken into the six pulses of the measure; in Ex. 20 it was shortened, by a rest, to one-half its real value; in Ex. 26 it was reduced to one-quarter of its true value; in Ex. 25, to one 8th-note; and in Ex. 24, No. 3, to one 16th-note.

That in almost every case the effect of absolute cessation is softened by marking the rhythm of the cadence-measure; in no case is the rhythm permitted to pause . In some part or other, by some means or other, the cadence-measure is kept alive; either by continuing the accompaniment, as in Exs. 18 and 20, or by quickly picking up a new rhythm, as in Exs. 27 and 28. Conspicuous exceptions to this rule will be found, it is true, in hymn-tunes and the like; though occasionally even there, as the student may recall, the rhythm, in some cadence-measures, is carried along by one or more of the inner voices; for example, in the hymn-tune "Lead, Kindly Light," of J. B. Dykes.

SPECIES OF CADENCE.--In text-books and musical dictionaries several varieties of the cadence are distinguished, but they are chiefly distinctions without any more than one essential point of difference, namely, difference in force or weight. It is therefore feasible to reduce all these varieties to two,--the heavy cadence and the light cadence. The former is represented by the so-called Perfect cadence, the latter by the many grades of Semicadence.

At the end of this four-measure phrase there is a perfect cadence, exhibited in its strongest, most conclusive form. It is practically undisguised, though the cadence-chord is reduced to three beats to make room for the preliminary beat of the next phrase .

In the following:

The cadence-chord occupies the unaccented beat, and is no longer than any other chord in the phrase. Despite its striking brevity, it is nevertheless a perfect cadence, disguised; it is the tonic chord of C major, with the keynote at top and bottom. See also Ex. 23, No. 1.

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