The portion marked b is a complete repetition, with quaint variation, of the original four-measure phrase, marked a in Ex. 42; c is a repetition of the last figure (just one measure) of the phrase, with the melodic parts inverted, or exchanged; d and e are a literal repetition of the two preceding measures—(c) and c; f is another recurrence of (c), with still another inversion of the melodies; g repeats e an octave higher; and h is nothing more or less than a curious repetition of g, in longer tones, and in reversed direction. Distinct cadential interruption is carefully avoided after the original phrase has been announced, that is, throughout Ex. 43,—which is the significant proof (borne out by the manifest identity of the melodic members) that these measures form part and parcel of the original phrase, as extension or development of it, and not a new phrase. The total length is sixteen measures, developed thus out of the original four.

For an exhaustive explanation of phrase-extension, with all the technical details, the student is referred to my HOMOPHONIC FORMS, Chapter III.

Another method of extending a phrase consists in prefacing a measure or two of purely introductory material; it is, therefore, rather anticipation than prolongation, and is composed most commonly of the figure of the accompaniment, announced briefly before the actual phrase-melody begins.

This is shown very clearly in the first measure of the 22d Song Without Words; also in the first measure of No. 7, No. 31, No. 42, No. 40, and others; the first two measures of No. 34, and No. 1; the first three measures of No. 19, No. 26, and No. 37,—and needs no further illustration. It emphasizes the necessity of vigilance in defining the correct starting-point of the first phrase; for a mistake at the beginning may interfere seriously with the locating of the cadences (according to our fundamental four-measure rule). For instance, in No. 42 the cadences do not fall in the 4th, 8th, 12th measures—and so on—but in the 5th, 9th, 13th, 17th, from the very beginning of the piece.

When the introductory passage is longer than three measures, it probably constitutes a complete phrase by itself, with its own cadence; in which case, of course, it must not be analyzed as "extension." For example, at the beginning of No. 29; still more apparently at the beginning of No. 28, No. 41, and others.

INHERENT IRREGULARITY.—Finally,—there exists another, third, condition, besides those mentioned at the head of this chapter, whereby a phrase may assume an irregular dimension; not by doubling or dividing its length (as in the large and small phrases) nor by the processes of extension,—but by an arbitrary and apparently incalculable act of melodic liberty,—by allowing the melody to choose its own time for the cadential interruption. This comparatively rare occurrence is illustrated in Ex. 17, No. 1 (five-measure phrase), and Ex. 17, No. 2, second phrase (six measures long). It is true that in each of these cases the "extra" measures might be accounted for as "extension by modified repetition,"—for instance, in No. 1 the second measure might be called a reproduction (or extension) of the first measure. But cases will be encountered where a phrase of three, five, six, or seven measures will admit of no such analysis. In such instances the student is compelled to rely simply upon the evidence of the cadence. As was advised in the context of Ex. 17, he must endeavor to define the phrase by recognition of its "beginning" and "ending," as such; or by exercising his judgment of the "cadential impression." See also Ex. 48, second phrase (six measures).

See Schubert, pianoforte sonata No. 1 (A minor, op. 42) Scherzo-movement; first 28 measures, divided into 5 phrases,—as demonstrated by the melodic formation—of 5, 5, 5, 7 and 6 measures. Also Schubert, Impromptu, op. 90, No. 3, measures 42 to 55 (phrases of 5, 5 and 4 measures.)

LESSON 6. Analyze the following examples, locating the cadences and defining their value (as perfect or semicadence); and determining the nature of each irregular phrase (as small, large, or extended phrase):

Beethoven, pianoforte sonata, op. 22, second movement (Adagio), first 30 measures.

Beethoven, pianoforte sonata, op. 28, Scherzo-movement.

Beethoven, pianoforte sonata, op. 14, No. 3, Menuetto.

Mendelssohn, Songs Without Words: No. 4, first 5 measures.

No. 46, last 9 1/2 measures.

No. 42, last 15 measures.

No. 45, last 11 measures.

No. 12, last 12 measures.

No. 14, last 11 measures.

No. 36, last 22 measures.

No. 37, last 11 measures.

Beethoven, pianoforte sonata, op. 27, No. 2, last movement; measures 7 to 23 from the second double-bar.

Beethoven, pianoforte sonata, op. 28, first movement; from the double-bar (near the middle of the movement) measures 21 to 94 (fermata symbol); in this extraordinary specimen of phrase-development, the original four-measure phrase yields seventy-four successive measures, with very few cadences to divide it even into sections. Same sonata, last movement, last eighteen measures.