[Illustration: Example 29. Fragment of Schubert.]
At the end of this four-measure phrase there is a perfect cadence, exhibited in its strongest, most conclusive form. It is practically undisguised, though the cadence-chord is reduced to three beats (from the four to which it is entitled) to make room for the preliminary beat of the next phrase (calculated to correspond to the one at the beginning of this phrase).
The cadence-chord is the tonic harmony of C minor; upon the primary accent of the 4th measure; it is considerably longer than any other tone in the phrase; and the keynote c is placed both at the top and at the bottom of the harmonic body. See also Ex. 15; the cadence is perfect, because the cadence-chord, on the accent of the 4th measure, is the tonic harmony of G major, with the keynote as highest and as lowest tone. It is abbreviated by rests, which very slightly diminish its weight. Ex. 17, No. 2, closes with a perfect cadence; it is the tonic harmony of C major, on an accent, and with the keynote in the two extreme parts. See also Ex. 20.
In the following:
