Also Beethoven, pianoforte sonata; op. 14, No. 2, second movement (C
major, _andante_); and op. 26, first movement.

A few cautious experiments may also be made in analyzing any
composition which the student may chance to be studying, especially if
not too elaborate. The necessary safeguard consists in simply passing
over every confusing point, limiting the analysis to those phrases that
are self defining, for the present,--until greater experience and
fuller information shall have been gained.

CHAPTER V. CADENCES.

CADENCES IN GENERAL.--A cadence is the ending of a phrase. Strictly
speaking, every interruption or "break" between figures, and between
all melodic members, is a cadence; but the term "cadence" is applied to
nothing smaller than entire phrases.

The cadence is the point of Repose which creates the necessary contrast
with the condition of Action that prevails more or less constantly
during the phrase; and the effect of this point of repose is,
therefore, to separate one phrase from the next. The cadential effect
is generally produced by two or three chords, the last one of which is
called the cadence-chord, and stands, when the cadence is perfectly
regular, upon an accented beat of the final measure. This, according
to our definition of the phrase, will most commonly be the fourth
measure.

For example:

[Illustration: Example 18. Fragment of Schumann.]

The first chord in the fourth measure, on the accented beat, is the
"cadence-chord"; but the preceding chord (and possibly the one before
that, also) is naturally inseparable from the final one, and therefore
the entire cadence would be defined technically as embracing both (or
all three) of these chords. The effect of repose is obtained _by the
length of the final chord_, which exceeds that of any other melody tone
in the phrase; its time-value is a dotted quarter, because of the
preliminary tone (_e_, before the first accent) which, in the original
(op. 68, No. 28), precedes the next phrase in exactly the same manner.

Illustrations of the regular cadence will be found, also, in Ex. 15 and
Ex. 16; in the latter,--consisting as it does of four consecutive
phrases, four cadences occur, distinctly marked by the _longer tone_ on
the accented beat of each successive fourth measure.

MODIFICATION OR DISGUISING OF THE CADENCE.--The most natural and
characteristic indication of a cadence is the _longer tone_, seen in
the examples to w