[Illustration: Example 27. Fragment of Mozart.]
Here again there is no doubt of the presence of a cadence at the first *; but this "cadence-measure" appears almost as certainly to be at the same time the initial measure of a new phrase. This, however, proves not to be the case, because there are four measures left, without this one. That is, counting backward from the final cadence, we locate the "first measure" after, not with, the cadence-measure. And this is the way the passage was meant to sound by its author, and the way it will and must sound to the student who has properly cultivated his sense of cadence.
