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standard) must interact with the principle of Variety (exemplified in all phrases of irregular extent). Therefore, the more reliable method, as already stated, is _to define the beginning of the following phrase_,--for each successive beginning involves a foregone cadence, of course. No very definite directions can be given; experience, observation, careful study and comparison of the given illustrations, will in time surely enable the student to recognize the "signs" of a beginning,--such as the recurrence of some preceding principal member of the melody, or some such change in melodic or rhythmic character as indicates that a new phrase is being announced. LESSON 5. Analyze, again, Schumann, _Jugend Album_ (op. 68), No. 6, locating every cadence and defining its quality,--as perfect cadence or semicadence. Also Nos. 22, 24, 26, 28, 30, 33, 14, 15, 16, 3,--and others. As a curious illustration of the difficulty which may sometimes attend the analysis of phrases and cadences, the student may glance at No. 31 (_Kriegslied_, D major); a more baffling example will rarely be found, for the piece abounds in irregular phrase-dimensions, and cadences that are disguised to the verge of unrecognizability; the only fairly reliable clue the composer has given lies in the formation of the melodic members (the clue intimated in the explanatory text following Ex. 35). Also Mendelssohn, Songs Without Words, No. 34 (first phrase six measures long); No. 40; No. 18. Also Beethoven's pianoforte sonata, op. 22, third movement (_Menuetto_); op. 28, second movement (_Andante_). Again the student is reminded that it is not only permissible, but wise and commendable, to pass by all confusing cases; without being careless or downright superficial, to observe a certain degree of prudent indifference at confusing points, trusting to that superior intelligence which he shall surely gain through wider experience. CHAPTER VI. IRREGULAR PHRASES. CAUSES.--The possibility of deviating from the fundamental standard of phrase-dimension (four measures) has been repeatedly intimated, and is treated with some detail in the text preceding Example 17, which should be reviewed. It is now necessary to examine some of the conditions that lead to this result. The causes of irregular phrase-dimension are two-fold; it may result (1) from simply inserting an additional cadence, or from omitting one. Or (2) it may be the conseque
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