For this reason, also, the actual "first measure" of a motive or phrase or sentence of any kind is always the first FULL measure,--the measure which contains the first primary accent; that is to say, the preliminary tone or tones do not count as first measure.

For this reason, further, it is evident that preliminary tones are invariably to be regarded as borrowed from the final measure of the preceding motive or phrase; they must be accounted for in someway,--must derive their metric pulse from some group,--and as they cannot be a part of the first measure, they obviously form a borrowed portion of the (preceding) last measure.

This will be better understood by reference to Ex.

14, No.

3; the two 16ths at the end of the 4th measure (preliminary tones of the following phrase) are borrowed from the _f_ which precedes,--the final tone of the first phrase, that would, but for this reduction, have been the full half-note necessary to complete the four measures (like the final _g_).
Perhaps the most striking feature of this rule of preliminary tones is the absolute freedom of its application.