Analyze in the same manner Mendelssohn's Songs Without Words, Nos. 27, 22 (first phrase, five measures), 48, 28, 35, and others; occasional irregularities may be encountered.
Also Beethoven, pianoforte sonata; op. 14, No. 2, second movement (C major, andante); and op. 26, first movement.
A few cautious experiments may also be made in analyzing any composition which the student may chance to be studying, especially if not too elaborate. The necessary safeguard consists in simply passing over every confusing point, limiting the analysis to those phrases that are self defining, for the present,—until greater experience and fuller information shall have been gained.
CHAPTER V. CADENCES.
CADENCES IN GENERAL.—A cadence is the ending of a phrase. Strictly speaking, every interruption or "break" between figures, and between all melodic members, is a cadence; but the term "cadence" is applied to nothing smaller than entire phrases.
The cadence is the point of Repose which creates the necessary contrast with the condition of Action that prevails more or less constantly during the phrase; and the effect of this point of repose is, therefore, to separate one phrase from the next. The cadential effect is generally produced by two or three chords, the last one of which is called the cadence-chord, and stands, when the cadence is perfectly regular, upon an accented beat of the final measure. This, according to our definition of the phrase, will most commonly be the fourth measure.
For example:
