or,
notwithstanding the time signature, certainly gives the effect of a
long, seven-beat measure, _e.g._

[Music]

Those who wish to do a little investigating of their own in the field
of modern music will find interesting examples of 5/4 and 7/4 metres
in Ravel's _Daphnis and Chloe_, in d'Indy's Sonata for Violin and
Pianoforte and in the Ballet music of Stravinsky.

We even find passages where, for special effect, the usual beats are
elided or extra beats inserted. Schumann was one of the most daring
experimenters in this respect and such fantastic effects are frequent
in his pianoforte works--notably in the _Carnaval_, op. 9, and in the
_Phantasiestuecke_, op. 12, _e.g._

[Music: SCHUMANN: _Carnaval_]

With reference to all the foregoing principles and comments the
music-lover is cautioned against the assumption that music, from the
standpoint of the composer or the listener, is merely a matter of
mechanical counting; or that the "swing" of music is as regular as
that of a sewing-machine. But, as order is Heaven's first law, it is
true that music tends to move in definite, symmetrical groups; and
where departure is made from this practise the effect is one most
carefully planned. The matter deserves earnest consideration, for, in
what is known as the "rhythmical sense," Americans--as a people, in
comparison with foreign nations--are still woefully deficient. As
rhythm is the basic element in all music, there is nothing in which
the listener should more definitely train his faculties than in
intelligent cooperation with the freedom of the composer.

CHAPTER V

THE TWO-PART AND THREE-PART FORMS

Now that a clear insight has been gained into the formation of the
normal sentence, we are in a position to understand how sentences may
be combined to make complete compositions. The simplest and most
primitive structure is that which contains _two_ complete sentences;
dividing itself naturally into _two_ parts and hence known as the
Two-Part Form. This form by reason of its simplicity and directness is
often found in the short pianoforte pieces of Schumann, Tchaikowsky,
Brahms, Grieg and Debussy. For a long period there was no attempt at
differentiation between vocal and instrumental style; music, in fact,
during the 15th and 16th centuries was often entitled "buon da cantare
ou suonare," _i.e._, equally well suited for voices or instruments.
When instrumental players were in search of pieces, they simply