8 should not betray the secret of their formation.
THE MELODIC MOTIVE OR PHRASE-MEMBER .-- This, as has already been stated, is a somewhat longer section, compounded of two or more figures.

Being thus longer, the "breaks" or spaces between motives are generally more emphatic and recognizable than those between the figures, and therefore it is easier, as a rule, to define the extremities of motives.
Melodic motives differ in length from one to four measures; by far the most common extent, however, is two measures, and the student will do wisely to accept this dimension and analyze accordingly, unless there is unmistakable evidence to the contrary.

The indications are precisely the same as those illustrated in the preceding two examples as guides for the definition of figures.
For example:-- [Illustration: Example 9.

Fragments of Beethoven, Mendelssohn, and Mozart.] In the first of these examples the extent of the motives is proven by each of the three given guides: the rest, which marks the end of the first member; the similarity of melodic and rhythmic formation, which proclaims the beginning of the second member, parallel with that of the first; and the regular (two-measure) dimension.

In Nos.