amine it carefully, and observe, among other details, the treatment
of the perfect cadence (in the 8th measure). See also, Song Without
Words, No. 27, measures 5 to 20.

The repetition of one of the two phrases is exhibited in the following
(Mozart, sonata No. 14):--

[Illustration: Example 48. Fragment of Mozart.]

The Antecedent is a regular four-measure phrase, with semicadence (made
on the tonic chord, but with _3d_ as uppermost tone); the Consequent is
a six-measure phrase, with perfect cadence, and is repeated, with
partial change of register. The whole is a "period with repeated
Consequent."

A somewhat elaborate example of extension by detail-repetition is seen
in the following (Chopin, Mazurka No. 20, op. 30, No. 3--see the
original):

[Illustration: Example 49. Fragment of Chopin.]

[Illustration: Example 49 continued.]

These sixteen measures are the product out of eight measures, by
extension; that is, they are reducible to a simple period-form (as may
be verified by omitting the passages indicated under dotted lines), and
they represent in reality nothing more than its manipulation and
development. The original 8-measure period makes a complete musical
sentence, and was so devised in the mind of the composer, _without the
extensions_. The method of manipulation is ingenious; observe the
variety obtained by the striking dynamic changes from _ff_ to _pp_;
and, hand in hand with these, the changes from major to minor, and back
(as shown by the inflection of _b_-flat to _b_-double-flat). These are
first applied to members only, of the Antecedent, as indicated by the
brackets _a_ and _b_, and then to the entire Consequent phrase.
Observe, also, that in the repeated form of the latter, the rhythm is
modified to a smoother form, during two measures. The result here
achieved is constant Unity and constant Variety from almost every point
of view, admirably counterbalanced.

THE PHRASE-GROUP.--A second method consists in enlarging the
period-form to three phrases, by the same process of addition which, as
explained in the preceding chapter, transforms the single phrase into
the double-phrase or period. In order to preserve the continuity of
the three phrases, it is evident that the second phrase must _also_
close with a semicadence,--the perfect cadence being deferred until the
last phrase is concluded.

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This form, be it well understood, does not include any of the
triple-phrase des