Sometimes the additional measures, in an extended sentence,
are found at the start; a clear example of this is the first sentence
(with its repeated opening measure) of the Largo of the Seventh
Sonata. Sentences are also often expanded by the insertion of one or
more measures in the middle of the phrase, _e.g._, the beginning of
the first movement of the Seventh Sonata and the corresponding place
in the Fourth. In the former sentence the first phrase is perfectly
regular, but as we reach our final cadence only in the tenth measure,
we must account for some additional measures. The polyphonic imitation
of the descending motive of measure 5 makes clear that this measure
has two repetitions. In the latter case we reach the end of the
sentence in the 17th measure and careful counting, and consideration
of the melodic outline, will convince us that the 9th measure,
emphasized by the _sf_ mark, is repeated.

When an extra measure is systematically introduced into each phrase of
4 measures we have what is known as "five-bar rhythm"--so prevalent in
the works of Schubert and Brahms.

[Music: SCHUBERT: _Sonata in E[flat] major_]

[Music: BRAHMS: _Ballade in G minor_]

As everyone is familiar with the latter composition, only the melody
is cited. This propulsion of the mind forward beyond the accustomed
point of rest always produces a stimulating rhythmic effect.[61]

[Footnote 61: Other charming examples of five-bar rhythm may be found
in Schubert's Quartet in A minor, op. 29, and in the opening choral
(St. Anthony) of Brahms's _Orchestral Variations_, op. 56a.]

The normal phraseology of four and eight measures is altered at times
by the _omission_ of certain measures. This often takes place at the
beginning of the sentence, as may be seen from the structure of the
so-called Anglican chant, familiar to all Protestants, _e.g._

[Music: SAVAGE]

The beginning of Mozart's _Overture to Figaro_ is also well known,
_e.g._

[Music]

The elision of a measure often takes place in the middle of a phrase
as may be seen from the theme of Mendelssohn's familiar _Spring-Song_.

[Music]

Just as in the case of the systematic insertion of an extra measure,
which produces "five-bar rhythm," so when a measure is omitted in each
phrase which would usually consist of four measures, we have
"three-bar rhythm." This gives an effect of great concentration and
intensity and is a prevalent feature in Scottish and Hungarian
folk-music,