nce of some specific manipulation of the
phrase-melody with a view to its extension or expansion, its development
into a broader and more exhaustive exposition of its contents.

THE SMALL AND LARGE PHRASES.--If a cadence is inserted before it is
properly due, it is almost certain to occur exactly _half-way_ along the
line toward the expected (regular) cadence,--that is, in the _second_
measure. This is likely to be the case only when the tempo is so slow,
or the measures of so large a denomination, that two of them are
practically equal to four _ordinary_ measures. By way of distinction,
such a two-measure phrase is called a Small phrase. For example:--

[Illustration: Example 37. Fragment of Mendelssohn.]

There is no reasonable doubt of the semicadence in the second measure,
because enough pulses have been heard, up to that point, to represent the
sum of an ordinary phrase. If this were written in 6-8 measure (as it
might be), it would contain four measures. See, also, Song No. 22 of
Mendelssohn,--9-8 measure, adagio tempo; the phrases are "Small"; note
particularly the last two measures. The same is true in No. 17. About
Schumann, op. 68, No. 43 (_Sylvesterlied_), there may be some doubt; but
the measures, though of common denomination, contain so many tones, in
moderate tempo, that the effect of a cadence is fairly complete in the
second measure.

If, on the other hand, one of the regular cadences is omitted,--owing to
the rapidity of the tempo, or a small denomination of measure,--the
phrase will attain just double the ordinary length; that is, _eight_
measures. An eight-measure phrase is called a Large phrase. For
illustration:--

[Illustration: Example 38. Fragment of Beethoven.]

There is not the slightest evidence of repose or interruption in the
fourth measure, nor of a new beginning in the fifth, wherefore the
cadence is not expected until four more measures have passed by. The
inferior points of repose in the upper parts, at the beginning of the
5th, 6th and 7th measures, serve only to establish melodic, or rather
rhythmic, variety, and have no cadential force whatever. See
Mendelssohn, Song No. 8; the first cadence appears to stand in the
_eighth_ measure; the tempo is rapid and the measures are small; it is
obviously a large phrase. The phrase which follows is regular, however;
there _is_ a cadence in the twelfth measure, thus proving that Large
phrases may appear in company with regu