The rhythmic pulse is marked in the accompanying (subordinate)
parts, as seen in Ex. 15, Ex. 18, and the following:--

[Illustration: Example 20. Fragment of Mendelssohn.]

[Illustration: Example 20 continued.]

The point of repose is marked by the longer melody tone _f_, on the
accent of the fourth measure. The value of the cadence-chord is
recorded, however, in the living tones of the accompanying figure,
which here (as in almost every similar case in composition) continues
its rhythmic movement undisturbed.

(2) The cadence-chord, or, more properly, the _cadence-tone_ in the
melody, is shifted to some later beat in the cadence measure. Thus:

[Illustration: Example 21. Fragment of Mozart.]

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 tone