beats that make the sum of
the fourth measure.

This important fact concerning the actual value of the cadence-chord
remains unchanged, through all the licenses taken in disguising or
(apparently) diminishing its value. Whatever means may be resorted to,
in modifying the cadence, they do not alter the fact that _the
cadence-chord is always entitled to this full sum of beats_; and these
beats virtually represent the cadence-chord, either in its unchanged
form (as in Ex. 19 and Ex. 16) or in any of the manifold disguised
forms illustrated in the following examples.

One of the simplest forms is shown in Ex. 15:--The cadence-chord, on
the accented beat of the fourth measure, is entitled to the six beats
contained in that final measure. One beat is borrowed for the
preliminary tone of the next phrase (that does not appear in our
example, but corresponds to the preliminary tone at the beginning); and
three beats are represented by rests, which cancel the resonance of the
melody-tone _g_, but do not actually negate the effect of the
cadence-chord. In consequence of these two reductions, the time-value
of the _cadence-tone_ is diminished to two beats, and the whole cadence
assumes a lighter, less obstinate and stagnant character. Of the six
beats belonging to the cadence-chord, four are occupied by the tones of
the accompaniment, which thus serves to bridge over the measure of
repose without destroying the impression of a cadence.

The treatment of the cadence is similar to this in Ex. 18.

In Ex. 17, No. 1, the cadence-chord falls, properly, upon the primary
accent (first beat) of the final measure--in this instance the fifth
measure, as we have learned. The six beats to which it is entitled are
all occupied by the simple reiteration of the final melody tone, while
the sense of "interruption" is imparted by the long rest in the lower
parts.

It is by thus sustaining the rhythmic pulse, during the measure
allotted to the cadence-chord, that the desired dual impression,--that
of cadential interruption without actual cessation,--is secured. It is
like rounding off a corner that might otherwise be too angular or
abrupt.

* * * * * *

The question naturally arises: What tones are chosen to provide
material for this continuation of the rhythm? They are usually derived
from the cadence-chord, or its auxiliary embellishments; and the
methods employed may be classified as follows:

(1)