[Illustration: Example 18. Fragment of Schumann.]
The first chord in the fourth measure, on the accented beat, is the "cadence-chord"; but the preceding chord (and possibly the one before that, also) is naturally inseparable from the final one, and therefore the entire cadence would be defined technically as embracing both (or all three) of these chords. The effect of repose is obtained by the length of the final chord, which exceeds that of any other melody tone in the phrase; its time-value is a dotted quarter, because of the preliminary tone (e, before the first accent) which, in the original (op. 68, No. 28), precedes the next phrase in exactly the same manner.
Illustrations of the regular cadence will be found, also, in Ex. 15 and Ex. 16; in the latter,—consisting as it does of four consecutive phrases, four cadences occur, distinctly marked by the longer tone on the accented beat of each successive fourth measure.
MODIFICATION OR DISGUISING OF THE CADENCE.—The most natural and characteristic indication of a cadence is the longer tone, seen in the examples to which reference has just been made; for a tone of greater length than its fellows is, in itself, the most conclusive evidence of a point of repose, as compared with the shorter tones in the course of the sentence, whose more prompt succession indicates the action of the phrase. (See Ex. 29.)
From this the student is not to conclude that every long tone marks a cadence. The rhythmic design of a melody is obtained by a constant interchange of long and short tones, without direct reference to the cadence alone; and numerous examples will be found in which tones of equal, or even greater, length than the cadence-tone occur in the course of the phrase. We have already seen that the end of a motive, or even of a figure, may be marked by a longer tone, or its equivalent in rests; and have been taught to expect a cadence in the fourth measure only, as a rule.
But the direct evidence of a cadence afforded by a longer tone is considered not only unnecessary, but in many cases distinctly undesirable. While cadences are indispensable, in music of clearly recognizable form, it is equally true that they must not be so emphatic as to check the current of melody and harmony too frequently or completely, or destroy the continuity and coherence of the members. And it is therefore an almost invariable practice, especially in music of a higher order, to modify and disguise the cadences by some means or other; that is, to diminish the weight of the characteristic "longer tone,"—to counteract, partially or entirely, the impression of actual cadential cessation, by continuing (instead of interrupting) the rhythmic pulse. This is so very common, and so confusing a device, that the effect of the various methods employed to conceal or disguise a cadence must be thoroughly understood.
It is necessary to remember, always, the rule that governs the actual body of the phrase, and its possible preliminary tones; namely, that the vital, essential starting-point of a phrase (and other factors of musical form) is the first primary accent, the first beat of the first full measure. The length of the phrase is reckoned from this point, and consequently, the cadence-chord is entitled to all the beats that remain, from its accent to the very end of the final measure. For example:
