In this example there is in reality no irregularity, because the cadence-tone rests upon an accented beat (the fourth, in 6-8 measure), and the conditions of a cadence are fulfilled by any accent, primary or secondary, of the final measure. But it belongs, nevertheless, to this class of disguised cadences; for whatever results, thus, in abbreviating the value of the cadence-chord, lightens the effect of the cadence, and serves the desirable purpose so persistently pursued by all good writers. Further:—
[Illustration: Example 22. Fragment of Beethoven.]
[Illustration: Example 22 continued. Fragments of Mendelssohn, Schumann, and Mozart.]
Nos. 2 and 3 illustrate the method most commonly adopted in shifting the cadence-tone forward to a later beat; namely, by placing an embellishing tone (usually the upper or lower neighbor) of the cadence-tone upon the accented beat belonging properly to the latter. Nos. 4 and 5 are both extreme cases; the actual cadence-tone is shifted to the very end of the measure, so that the effect of cadential interruption is very vague and transient,—and will be quite lost unless the player is intelligent enough to emphasize, slightly, the phrasing (by making a distinct, though very brief, pause before attacking the following measure). See also Ex. 17, No. 2, the first phrase; here, again, the melody runs on (through tones which embellish the cadence-chord, f-a-c) to the last 8th-note of the fourth measure.
(3) A certain—entirely optional—number of tones are borrowed from the value of the cadence-chord, as preliminary tones of the following phrase. An illustration of this has already been seen in Ex. 14, No. 2 and No. 3. It is the employment of such preliminary tones, that, as thoroughly explained in Chapter III, creates a distinction between the melodic beginning and the actual vital starting point of the phrase; or that gives the phrase an apparently shifted location in its measures.
Further (the actual cadence-tone is marked):—