[Illustration: Example 28. Fragment of Beethoven.]
This case is extremely misleading; it is hard to believe (and feel) that the characteristic onset of the 16th-triplet figure does not herald the new phrase; but all the indications of strict, unswerving analysis (not to be duped by appearances) point to the fact that this is one of the common cases of disguised cadence, and not an elision of the cadence. The sforzando marks of Beethoven confirm this view, and, as in Example 27, we have our four measures to the next cadence, without this "cadence-measure."
The characteristic traits of all these various phases of cadence formation are:—
(1) That the actual cadence-tone in the melody may be of any time-value, from the full extent of the cadence-measure down to the smallest fraction of that measure. In Ex. 19 it was the former, unbroken; in Ex. 17, No. 1, also, but broken into the six pulses of the measure; in Ex. 20 it was shortened, by a rest, to one-half its real value; in Ex. 26 it was reduced to one-quarter of its true value; in Ex. 25, to one 8th-note; and in Ex. 24, No. 3, to one 16th-note.
(2) That the cadence-tone in the melody may be shifted forward to almost any point beyond its expected position upon the primary accent. In Ex. 20 (and many other of the given illustrations) it stands in its legitimate place, at the beginning of the measure; in Ex. 21 it stands upon the second accent of the measure; in Ex. 22, No. 1, on the second beat in 3-4 measure; in Ex. 22, No. 5, on the third beat of the triple-measure; in Ex. 22, No. 4, on the last eighth note in the measure.
(3) That in almost every case the effect of absolute cessation is softened by marking the rhythm of the cadence-measure; in no case is the rhythm permitted to pause (not even in Ex. 19, where the accompaniment, not shown, is carried along in unbroken 8th-notes). In some part or other, by some means or other, the cadence-measure is kept alive; either by continuing the accompaniment, as in Exs. 18 and 20, or by quickly picking up a new rhythm, as in Exs. 27 and 28. Conspicuous exceptions to this rule will be found, it is true, in hymn-tunes and the like; though occasionally even there, as the student may recall, the rhythm, in some cadence-measures, is carried along by one or more of the inner voices; for example, in the hymn-tune "Lead, Kindly Light," of J. B. Dykes. (See also Ex. 29.)
SPECIES OF CADENCE.—In text-books and musical dictionaries several varieties of the cadence are distinguished, but they are chiefly distinctions without any more than one essential point of difference, namely, difference in force or weight. It is therefore feasible to reduce all these varieties to two,—the heavy cadence and the light cadence. The former is represented by the so-called Perfect cadence, the latter by the many grades of Semicadence.
PERFECT CADENCE.—There is one method of checking the current of the melodic phrase with such emphasis and determination as to convey the impression of finality; either absolute finality, as we observe it at the very end of a composition, or such relative finality as is necessary for the completion of some independent section of the piece,—conclusive as far as that section is concerned, though not precluding the addition of other sections to this, after the desired degree of repose has been felt. This is known as the perfect cadence, or full stop. It is always made upon the tonic harmony of some key as cadence-chord, with the keynote itself in both outer parts, and—when desired in its strongest form (without such disguising as we have seen)—upon an accented beat, and of somewhat longer duration than its fellow tones. For illustration:—
