I'm listening to a lecture by Prof. Brooks Landon on sentences (and you think I lead a boring life? No, it's one round of revelry after another!), and he mentions that often the most rhythmic sentences have: Main clause, longer modifier, shorter modifier (one word or so), and a long modifier, like:
Slowly she opened the door, uncertain if what waited within was a friend, an enemy, or worse yet, no one at all. (My example)
He said for some reason he couldn't explain this was the most seductive of sentence rhythms, and that the writers considered most melodic would use sentences like this frequently (not every sentence).
Anyway, look at your own work, or a book you love, and see if you can find a sentence like this (doesn't have to be exactly like this-- the point is to have one-word (or two- short, anyway) interspersed with longer modifiers, so you might start with one word, do that main clause, short, long, short. He said it's like a dot-dash of Morse code. Let's see what we come up with to prove or disprove him.
So let's also say-- if you find a sentence that sounds lovely, post that also if it DOESN'T fit his proposition.
I find I don't do that-- I go with just long modifiers. Hmm. I should try to revise some to single-word modifiers and see. Let me see what you all find.