[Illustration: Example 23 continued. Fragment of Mendelssohn.]
No. 1 illustrates, again, the absence of preliminary tones in one phrase, and their presence in the next. In each of these examples (excepting, perhaps, No. 2) the cadence is so thoroughly disguised that there is little, if any, evidence left of the "point of repose." In No. 4, particularly, the cadence-measure is rhythmically the most active one in the phrase. And yet the presence of a genuine cadence at each of these places, marked *, is as certain and indisputable as in Ex. 19. The ear will accept a cadence upon the slightest evidence in the right place,—where a cadence is expected. See, also, Mozart pianoforte sonata No. 10 (in D major), first 12 measures; measure 8 is a cadence-measure.
Here follow a few more examples which illustrate the most extreme application of this principle of borrowed tones,—a mode of treatment very common in the music of Mozart, Haydn, and, in fact, all classic writers:—
