Fragment of Beethoven.] is immediately followed by this lengthy and elaborate extension:-- [Illustration: Example 43.

Fragment of Beethoven.] [Illustration: Example 43 continued.] The portion marked _b_ is a complete repetition, with quaint variation, of the original four-measure phrase, marked _a_ in Ex.

42; _c_ is a repetition of the last figure (just one measure) of the phrase, with the melodic parts inverted, or exchanged; _d_ and _e_ are a literal repetition of the two preceding measures--( _c_) and _c_; _f_ is another recurrence of (_c_), with still another inversion of the melodies; _g_ repeats _e_ an octave higher; and _h_ is nothing more or less than a curious repetition of _g_, in longer tones, and in reversed direction.
Distinct cadential interruption is carefully avoided after the original phrase has been announced, that is, throughout Ex.

43,--which is the significant proof (borne out by the manifest identity of the _melodic_ members) that these measures form part and parcel of the original phrase, as extension or development of it, and _not_ a new phrase.

The total length is sixteen measures, developed thus out of the original four.
For an exhaustive explanation of phrase-extension, with all the technical details, the student is referred to my HOMOPHONIC FORMS, Chapter III.
* * * * * * Another method of extending a phrase consists in prefacing a measure or two of purely _introductory_ material; it is, therefore, rather anticipation than prolongation, and is composed most commonly of the figure of the accompaniment, announced briefly before the actual phrase-melody begins.
This is shown very clearly in the first measure of the 22d Song Without Words; also in the first measure of No.