[58] Lack of space will prevent hereafter the citation in actual notes of the examples from Beethoven. His works are readily accessible, and it may even be assumed that every music-lover owns the Pianoforte Sonatas.
[59] Another excellent example of a 12 measure sentence with an extended cadence may be found at the beginning of the first movement of the Third Beethoven Sonata.
[60] For a burlesque of this practise see the closing measures of the Scherzando movement of Beethoven's Eighth Symphony.
[61] Other charming examples of five-bar rhythm may be found in Schubert's Quartet in A minor, op. 29, and in the opening choral (St. Anthony) of Brahms's Orchestral Variations, op. 56a.
[62] This effect is clearly brought out in symphonic music where one portion of the orchestra, with a certain tone color, may be ending a phrase at the same moment at which another part, with a contrasting tone color, begins. An excellent example is the first theme of the Slow movement of Schumann's Second Symphony (measures 7-8).
[63] For a complete account of this process see Parry's Evolution of the Art of Music, p. 115 seq.
[64] This book makes no attempt to give an historical account of the development of instrumental form. The subject is set forth comprehensively in the article on Form in Grove's Dictionary (Vol. II, p. 73) and in the Fifth and Sixth Chapters of Parry's Evolution of the Art of Music.
[65] See The Appreciation of Music by Surette and Mason, p. 36.
[66] As an illustration of this tendency see the Scherzo of Beethoven's Second Sonata, the second part of which has a new theme of its own, although the movement as a whole is clearly in Two-part form.
[67] See The Sonata Form by W.H. Hadow, Chapter III.