[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.
[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.