Without Words,--see No.
40, No. 22, and others, in which an entirely definite separation of the
figures is well-nigh a hopeless task.

For this reason,--that is, because the melodic divisions are so minute
and vague between these smaller particles of the musical sentence,--it
is advisable _to give no heed to any factor smaller than the "motive,"_
and to undertake the analysis of nothing less than the latter; for even
the most scrupulous "phrasing," in the playing of a composition, must
avoid the risk of incoherency almost certain to result from distinctly
separating all the figures. The melodies in Ex. 8 should not betray
the secret of their formation.

THE MELODIC MOTIVE OR PHRASE-MEMBER.--This, as has already been stated,
is a somewhat longer section, compounded of two or more figures. Being
thus longer, the "breaks" or spaces between motives are generally more
emphatic and recognizable than those between the figures, and therefore
it is easier, as a rule, to define the extremities of motives.

Melodic motives differ in length from one to four measures; by far the
most common extent, however, is two measures, and the student will do
wisely to accept this dimension and analyze accordingly, unless there
is unmistakable evidence to the contrary. The indications are
precisely the same as those illustrated in the preceding two examples
as guides for the definition of figures.

For example:--

[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:--

[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: Exam