As a curious illustration of the difficulty which may sometimes attend the analysis of phrases and cadences, the student may glance at No.

31 (_Kriegslied_, D major); a more baffling example will rarely be found, for the piece abounds in irregular phrase-dimensions, and cadences that are disguised to the verge of unrecognizability; the only fairly reliable clue the composer has given lies in the formation of the melodic members (the clue intimated in the explanatory text following Ex.

35).
Also Mendelssohn, Songs Without Words, No.

34 (first phrase six measures long); No.

40; No.