locations of the first tone, in each figure and
motive.

When a figure or motive starts at the accented beat, it begins, so to
speak, in the right place; _any tone or tones which precede the accent
are merely preliminary or introductory tones_. While they are very
desirable and necessary, in the fulfilment of certain purposes, they
are not an _essential_ part of the motive; they appear to represent the
ornamental rather than the stable element of the melodic sentence, and
their employment is therefore a matter of option and taste rather than
of absolute necessity. The accent indicates the point where the body
of the motive begins; the accent is the point where the stake is
driven; all that goes before is simply preparatory,--the changeable
material which flutters about the fixed center. Therefore the
preliminary tones do not indicate the _essential_ or actual beginning
of the motive, but its apparent or conditional beginning only; or what
might be called its _melodic_ beginning. For this reason, also, the
actual "first measure" of a motive or phrase or sentence of any kind is
always the first FULL measure,--the measure which contains the first
primary accent; that is to say, the preliminary tone or tones do not
count as first measure. For this reason, further, it is evident that
preliminary tones are invariably to be regarded as borrowed from the
final measure of the preceding motive or phrase; they must be accounted
for in someway,--must derive their metric pulse from some group,--and
as they cannot be a part of the first measure, they obviously form a
borrowed portion of the (preceding) last measure. This will be better
understood by reference to Ex. 14, No. 3; the two 16ths at the end of
the 4th measure (preliminary tones of the following phrase) are
borrowed from the _f_ which precedes,--the final tone of the first
phrase, that would, but for this reduction, have been the full
half-note necessary to complete the four measures (like the final _g_).

Perhaps the most striking feature of this rule of preliminary tones is
the absolute freedom of its application. It is _always_ wholly
optional with the composer to begin his figure or motive at whatever
part of the measure he may elect; at the accent or not; with or without
preliminary tones; to borrow beats from the preceding ending or not, as
his judgment or taste, or possibly some indirect requirement, may
decide. So valid is this license, that it is by no m