Intelligent and effective phrasing, adequate interpretation of the composer's purpose, is impossible without a distinct exposition of the cadences,--if not of the inferior points of interruption between motives, also.
The best general rule for locating cadences is, probably, to look for them in the right place, namely, in the _fourth measure_ from the beginning of each phrase.

The fairly regular operation of this rule has been verified in Lesson 4.

But exceptions have also been seen (in Ex.

17), and many more are certain to be encountered, simply because the principle of Unity (exemplified by the prevalence of the four-measure standard) must interact with the principle of Variety (exemplified in all phrases of irregular extent).
Therefore, the more reliable method, as already stated, is _to define the beginning of the following phrase_,--for each successive beginning involves a foregone cadence, of course.

No very definite directions can be given; experience, observation, careful study and comparison of the given illustrations, will in time surely enable the student to recognize the "signs" of a beginning,--such as the recurrence of some preceding principal member of the melody, or some such change in melodic or rhythmic character as indicates that a new phrase is being announced.
LESSON 5.