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