8; the first cadence appears to stand in the _eighth_ measure; the tempo is rapid and the measures are small; it is obviously a large phrase.

The phrase which follows is regular, however; there _is_ a cadence in the twelfth measure, thus proving that Large phrases may appear in company with regular phrases, in the same composition.

In other words, the omission of an expected cadence (or the insertion of an additional one) may be an _occasional_ occurrence,--not necessarily constant.

See, again, No.

22 of the Songs Without Words; the first and second phrases are small; the third phrase, however (reaching from measure 6 to 9 without cadential interruption), is of regular dimensions.
THE PRINCIPLE OF EXTENSION .-- The other cause of modified phrase-dimension is one of extreme importance, as touching upon the most vital process in musical composition, namely, that of _phrase-development_.
Setting aside all critical discussion with reference to the question, "What is good music ?" and simply accepting those types of classic composition universally acknowledged to be the best, as a defensible standard (to say the least), we find that such a page of music exhibits the pursuit of some leading thought (melodic motive or phrase), with precisely the same coherence and consistency, the same evidence of determined aim, as is displayed in the creation of a forcible essay, a masterly poem, an imposing architectural plan, or any other work of art that betrays intelligence and a definite, fixed, purpose.