2 and 3 there are no rests between the motives, and the melodic formation differs; here it is the standard of two measures that defines the members.
Ex.

3 is a two-measure motive.

In Exs.

2, 5, and 6, the motives are all two measures in length.
In the following:-- [Illustration: Example 10.

Fragment of Beethoven.] one is tempted to call each _single_ measure a motive, because of the number of tones it contains, and the weight (length) of the final tone, which makes a much more emphatic interruption than commonly occurs between figures.
And in the following, on the other hand:-- [Illustration: Example 11.