In Example 22, they are manifestly (even in No.

5) a part of the present phrase; in Example 23 and 24 they are as certainly preliminary to the phrase which follows.

In the following example they seem to constitute an entirely independent little "interlude," without direct reference to either phrase: [Illustration: Example 25.

Fragment of Mozart.] * * * * * * THE ELISION .-- Finally, there are some (very rare) instances where the composer appears to yield to the seductive influence of such extensive preliminary groups as those seen in Example 24, and by setting aside the trifling discrepancy, permits the apparent preliminary tones to represent the _actual first measure of the next phrase_.

This is easily accomplished, when, as in Example 24, No.