omission of certain measures or by the overlapping of phrases.
The simplest and most common means of enlarging a sentence is
by the extension, or repetition, of the final cadence—that effect
which is so frequent in the chamber and symphonic music of
Haydn, and which has its comic manifestation in the so-called
“crescendo” of the Rossini Operatic Overture.[60]
[Footnote 60: For a burlesque of this practise see the closing
measures of the Scherzando movement of Beethoven’s Eighth
Symphony.]
[Music: HAYDN:Quartet, op. 74, No. 2]
As Haydn was an important pioneer in freeing instrumental
structure from dependence on the metre of words, his periods
are always clearly organized; the closing measures of this ex-
ample seem, as it were, to display a flag, telling the listener
that the first breathing-place is reached. Very often both the
fore-phrase and the after-phrase have cadential prolongations,
an example of which may be found in Haydn’s Quartet, op. 71,
No. 3. The two following illustrations (the first movement of
Beethoven’s Fifth Sonata and the third movement of the Fourth)
furnish remarkable examples of extended 16 measure sentences;
each sentence being normal and symmetrical at the outset and
then, as the fancy of the composer catches fire, expanding in a
most dramatic fashion. 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 ex-
panded 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 imita-
tion 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 thesf 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.