s 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 othe