In this case the cadence-chord is not modified or disguised in the least, but takes full advantage of the six 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) The rhythmic pulse is marked in the accompanying (subordinate) parts, as seen in Ex. 15, Ex. 18, and the following:—