[Illustration: Example 51. Fragment of Beethoven.]
Each phrase is four measures long, as usual; the first one ends (as in Ex. 50) with one of those early, transient perfect cadences that do not break the continuity of the sentence; the second phrase ends with a semicadence,—therefore the sentence remains unbroken; phrase three is exactly like the first, and is therefore an Antecedent, as before; phrase four bears close resemblance to the second one, but differs at the end, on account of the perfect cadence. The evidences of Unity and Variety are easily detected. The main points are, that the second pair of phrases balances the first pair, and that the two periods are connected (not separate periods). See also Ex. 53, first 16 measures.
LESSON 8.—Analyze the following examples. They are not classified; therefore the student must himself determine to which of the above three species of enlargement each belongs:
Mendelssohn, Songs Without Words, No. 29, measures 1-21, (first 4 measures an introductory phrase).
No. 37, first 17 measures.
No. 30, first 15 measures (last phrase irregular).
No. 16, measures 4-9 (small phrases).
No. 33, first 12 measures.