[Footnote 57: Another interesting eight-measure sentence may
be found at the beginning of the slow movement of Beethoven’s
Eighth Sonata, in which every section differs from any one of
the others; in the opening sentence of the first movement of the
Tenth Sonata—noticeable for the indefiniteness of the cadences
until the final close is reached in measure 8, and in the first
sentence of the Allegretto of the Sixth Sonata which is one long
sweep, with only the faintest indications of subdivision.]
Music, however, would be very rigid and would seem measured
off with a yard-stick if the sentences were equally of eight mea-
sures. The “sing-song” effect of much so-called popular music
is due to the stereotyped metrical pattern. You can always tell
just where and how you are coming out. In order to gain a
free and elastic phraseology, composers early began to combine
three four-measure phrases into atwelvemeasure sentence. It is
obvious that with three phrases there can be more subtle effects
of contrast and balance than with two, as the following chart
makes plain:
____________
/ $\backslash$
A Contrast B Contrast C
$\backslash$____________/
(4 measures) (4 measures) (4 measures)
balance
$\backslash$______________________________________/
[Music: BEETHOVEN: 6th Sonata]
In this sentence it is evident that we cannot stop at the 8th
measure and that our first definite conclusion is in measure 12.
Let the student observe the varied melodic outline in the three
phrases, and question himself as to the types of cadence and
ending.