[Illustration: Example 21. Fragment of Mozart.]
In this example there is in reality no irregularity, because the cadence-tone rests upon an accented beat (the fourth, in 6-8 measure), and the conditions of a cadence are fulfilled by any accent, primary or secondary, of the final measure. But it belongs, nevertheless, to this class of disguised cadences; for whatever results, thus, in abbreviating the value of the cadence-chord, lightens the effect of the cadence, and serves the desirable purpose so persistently pursued by all good writers. Further:—
