[Illustration: Example 10. Fragment of Beethoven.]
one is tempted to call each single measure a motive, because of the number of tones it contains, and the weight (length) of the final tone, which makes a much more emphatic interruption than commonly occurs between figures.
And in the following, on the other hand:—
[Illustration: Example 11. Fragment of Beethoven.]
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 (uneven) association of members:—