cadence, is sufficient, and we shall use no other.

If, then, a cadence is final in its effect, it is a perfect one; if
not, it is a semicadence. The harmony most commonly chosen as the
resting-place of a semicadence is the chord of the _dominant_,--the
fifth step of the momentary key,--that being the harmony next in
importance to that of the tonic (the one invariably used for the
perfect cadence). The following example illustrates the dominant
semicadence:--

[Illustration: Example 34. Fragment of Brahms.]

The cadence-chord is the dominant harmony (root _e_) in the key of A
minor; neither of the two upper tones on the first and second beats is
the root of the chord; it is quite sufficient that the root appears as
lowermost tone, and even this is not necessary. The "point of repose"
is shifted to the second beat, in the manner so amply illustrated in
the examples of the disguised cadence; the methods we have seen may be
applied to _any_ kind of cadence.

See also Ex. 18; the key, and therefore the chord, at the semicadence
is the same as that of the above example (simply major instead of
minor).

Also Ex. 23, No. 4; the semicadence chord is the dominant harmony of
E-flat major; it is skillfully disguised. Ex. 25, dominant harmony of
A major. Ex. 26, last four measures; the semicadence is made upon the
dominant of C minor.

In the following:

[Illustration: Example 35. Fragment of Schumann.]

the semicadence in the fourth measure is made with the dominant harmony
of C major (the tones _g-b-d-f_); it is so disguised as to remove all
signs of interruption; but the chord _prevails_ throughout the measure,
and (as may be seen by reference to the original, op. 68, No. 3) the
next measure--the fifth--exactly corresponds to the first; this
indicates another "beginning," and proves our "ending."

But though the dominant is thus generally employed at the semicadence,
it is by no means the only available chord. It must be remembered that
every cadence which does not fulfil the definite conditions of the
perfect cadence, is a semicadence. Examine each of the following, and
determine why the point of repose is each time a semicadence:--Ex. 1;
Ex. 9, No. 3; Ex. 14, No. 2, fourth measure; Ex. 14, No. 3, fourth
measure; Ex. 19; Ex. 22, Nos. 3 and 4; Ex. 23, No. 2, fourth measure.

The distinction between the two species of cadence becomes most subtle
when the _tonic harmony_ is chosen for the semicadence, _but w