(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:—
[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: