at 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 bea