ts (from
the four to which it is entitled) to make room for the preliminary beat
of the next phrase (calculated to correspond to the one at the
beginning of this phrase).

The cadence-chord is the tonic harmony of C minor; upon the primary
accent of the 4th measure; it is considerably longer than any other
tone in the phrase; and the keynote _c_ is placed both at the top and
at the bottom of the harmonic body. See also Ex. 15; the cadence is
perfect, because the cadence-chord, on the accent of the 4th measure,
is the tonic harmony of G major, with the keynote as highest and as
lowest tone. It is abbreviated by rests, which very slightly diminish
its weight. Ex. 17, No. 2, closes with a perfect cadence; it is the
tonic harmony of C major, on an accent, and with the keynote in the two
extreme parts. See also Ex. 20.

In the following:

[Illustration: Example 30. Fragment of Schumann.]

the cadence-chord stands upon the secondary accent (3d beat) of the
final measure. This method of shifting the cadence forward is
generally adopted in large species of measure (6-8, 9-8, and the like),
and has been defined among the devices employed in disguising or
_lightening_ the cadence. In Ex. 22, No. 5, the cadence-chord is
shifted to the last beat (unaccented) of the final measure; this
lightens the cadence very materially, but it does not affect any of its
essential properties as perfect cadence. The following is similar:--

[Illustration: Example 31. Fragment of Schumann.]

The cadence-chord occupies the unaccented (2d) beat, and is no longer
than any other chord in the phrase. Despite its striking brevity, it
is nevertheless a perfect cadence, disguised; it is the tonic chord of
C major, with the keynote at top and bottom. See also Ex. 23, No. 1.

The following illustrations come under the head of the disguised
cadences seen in Ex. 24:--

[Illustration: Example 32. Fragments of Mendelssohn and Schubert.]

In No. 1 the cadence is perfect, for it is the tonic chord of G major,
keynote _g_ at top and bottom, and on the primary accent of the fourth
measure; but the uninterrupted continuation of the movement of 16ths,
in the right hand, shortens the uppermost keynote to a single
16th-note, and would entirely conceal the cadence, were it not for the
distinct evidence of repose in the lower part.

In No. 2 the movement in the upper part appears to shatter the cadence;
the keynote does not appear on the accent, a