The very minute "breaks" between figures are often nearly or quite imperceptible; and in many cases it is possible to define the figures of a motive in various, equally plausible ways, simply because the "breaks" (which are of course surely present, and become more and more apparent between the larger members of a composition) are likely to be too inconsiderable among these, smallest factors of the melodic form.
The following three guides may serve to indicate the extremities of the melodic figures:-- (1) A brief rest, or a longer tone, usually marks the end of a figure.
This is fully illustrated in Ex.6.

See also Ex.

10, Ex.

12.
(2) Similarity of formation (rhythm and melodic direction) almost invariably defines the mutually opposed, and therefore separable, divisions of the melody,--both small and large.

For example (the figures are bracketed _a_):-- [Illustration: Example 7.