[Illustration: Example 30. Fragment of Schumann.]
the cadence-chord stands upon the secondary accent (3d beat) of the final measure. This method of shifting the cadence forward is generally adopted in large species of measure (6-8, 9-8, and the like), and has been defined among the devices employed in disguising or lightening the cadence. In Ex. 22, No. 5, the cadence-chord is shifted to the last beat (unaccented) of the final measure; this lightens the cadence very materially, but it does not affect any of its essential properties as perfect cadence. The following is similar:—
[Illustration: Example 31. Fragment of Schumann.]
The cadence-chord occupies the unaccented (2d) beat, and is no longer than any other chord in the phrase. Despite its striking brevity, it is nevertheless a perfect cadence, disguised; it is the tonic chord of C major, with the keynote at top and bottom. See also Ex. 23, No. 1.
The following illustrations come under the head of the disguised cadences seen in Ex. 24:—