No. 9, " 3 1/2-7.

No. 27, " 5-12.

Schumann, op. 68, No. 3, measures 1-8; 9-16.

No. 5, measures 1-8; 9-16. (Do not overlook the preliminary tones
which precede the first measure.)

The first eight measures of Nos. 6, 7, 8, 9, 11, 12, 15, 22, 23, 24,
26, 30, 32, 39. Also Nos. 13 and 28, first _ten_ measures.

Beethoven, pianoforte sonatas: op. 2, No. 1, _Adagio_, measures 1-8.
Same sonata, third movement, "Trio," measures 1-10.

Op. 2, No. 2, _Largo_, measures 1-8; also _Scherzo_, measures 1-8; also
_Rondo_, measures 1-8.

Op. 2, No. 3, measures 1-13; also _Scherzo_, measures 1-16; also last
movement, measures 1-8.

Op. 10, No. 1, _Finale_, measures 1-8; and measures 16 1/2-28.

Op. 10, No. 3, measures 1-10; also _Largo_, measures 1-9; 9 1/2-17;
also _Menuetto_, measures 1-16; also _Rondo_, measures 1-9.

Op. 14, No. 2, measures 1-8; also _Andante_, measures 1-8; also
_Scherzo_, measures 1-8.

After analyzing these examples, the student may venture to define the
periods in other compositions, classic or popular, especially such as
he may chance to be learning.

CHAPTER VIII.--ENLARGEMENT OF THE PERIOD-FORM.

The processes of extension and development are applied to the period in
the same general manner as to the phrase. The results, however, are
broader; partly because every operation is performed on a
correspondingly larger scale, and partly because the resources of
technical manipulation increase, naturally, with the growth of the
thematic material.

Among the various methods adopted, there are three, each significant in
its own peculiar way, that provide sufficiently exhaustive directions
for the student of structural analysis.

ENLARGEMENT BY REPETITION.--The first and simplest method is to
increase the length of the period-form by the process of _repetition_;
repetition of the entire sentence, or of any one--or several--of its
component members, in a manner very similar to that already seen in
connection with the single phrase (Chap. VI, Ex. 39, etc.), and under
the same conditions of Unity and Variety; that is, the repetitions may
be nearly or quite literal, or they may have been subjected to such
alterations and variations as the skill and fancy of the composer
suggested.

An example of complete repetition (that is, the repetition of the
entire period), with simple but effective changes, may be found in
Beethoven, pianoforte sonata, op. 13, _Adagio_, measures 1 to 16.
Ex