[Illustration: Example 9. Fragments of Beethoven, Mendelssohn, and Mozart.]
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 (two-measure) 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:—
