> From this the student is not to conclude that every long tone marks a

cadence. The rhythmic design of a melody is obtained by a constant

interchange of long and short tones, without direct reference to the

cadence alone; and numerous examples will be found in which tones of

equal, or even greater, length than the cadence-tone occur in the

course of the phrase. We have already seen that the end of a motive,

or even of a figure, may be marked by a longer tone, or its equivalent

in rests; and have been taught to expect a cadence in the fourth

measure only, as a rule.



But the direct evidence of a cadence afforded by a longer tone is

considered not only unnecessary, but in many cases distinctly

undesirable. While cadences are indispensable, in music of clearly

recognizable form, it is equally true that they must not be so emphatic

as to check the current of melody and harmony too frequently or

completely, or destroy the continuity and coherence of the members.

And it is therefore an almost invariable practice, especially in music

of a higher order, to modify and disguise the cadences by some means or

other; that is, to diminish the weight of the characteristic longer

tone,--to counteract, partially or entirely, the impression of actual

cadential cessation, by continuing (instead of interrupting) the

rhythmic pulse. This is so very common, and so confusing a device,

that the effect of the various methods employed to conceal or disguise

a cadence must be thoroughly understood.



It is necessary to remember, always, the rule that governs the actual

body of the phrase, and its possible preliminary tones; namely, that

the vital, essential starting-point of a phrase (and other factors of

musical form) is the first primary accent, the first beat of the

first full measure. The length of the phrase is reckoned from this

point, and consequently, the cadence-chord is entitled to all the beats

that remain, from its accent to the very end of the final measure. For

example:



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:--





The point of repose is marked by the longer melody tone f, on the

accent of the fourth measure. The value of the cadence-chord is

recorded, however, in the living tones of the accompanying figure,

which here (as in almost every similar case in composition) continues

its rhythmic movement undisturbed.



(2) The cadence-chord, or, more properly, the cadence-tone in the

melody, is shifted to some later beat in the cadence measure. Thus:





In this example there is in reality no irregularity, because the

cadence-tone rests upon an accented beat (the fourth, in 6-8

measure), and the conditions of a cadence are fulfilled by any

accent, primary or secondary, of the final measure. But it belongs,

nevertheless, to this class of disguised cadences; for whatever

results, thus, in abbreviating the value of the cadence-chord, lightens

the effect of the cadence, and serves the desirable purpose so

persistently pursued by all good writers. Further:--





Nos. 2 and 3 illustrate the method most commonly adopted in shifting

the cadence-tone forward to a later beat; namely, by placing an

embellishing tone (usually the upper or lower neighbor) of the

cadence-tone upon the accented beat belonging properly to the latter.

Nos. 4 and 5 are both extreme cases; the actual cadence-tone is shifted

to the very end of the measure, so that the effect of cadential

interruption is very vague and transient,--and will be quite lost

unless the player is intelligent enough to emphasize, slightly, the

phrasing (by making a distinct, though very brief, pause before

attacking the following measure). See also Ex. 17, No. 2, the first

phrase; here, again, the melody runs on (through tones which embellish

the cadence-chord, f-a-c) to the last 8th-note of the fourth measure.



(3) A certain--entirely optional--number of tones are borrowed from the

value of the cadence-chord, as preliminary tones of the following

phrase. An illustration of this has already been seen in Ex. 14, No. 2

and No. 3. It is the employment of such preliminary tones, that, as

thoroughly explained in Chapter III, creates a distinction between the

melodic beginning and the actual vital starting point of the phrase;

or that gives the phrase an apparently shifted location in its measures.



Further (the actual cadence-tone is marked):--



No. 1 illustrates, again, the absence of preliminary tones in one

phrase, and their presence in the next. In each of these examples

(excepting, perhaps, No. 2) the cadence is so thoroughly disguised that

there is little, if any, evidence left of the point of repose. In

No. 4, particularly, the cadence-measure is rhythmically the most

active one in the phrase. And yet the presence of a genuine cadence at

each of these places, marked *, is as certain and indisputable as in

Ex. 19. The ear will accept a cadence upon the slightest evidence in

the right place,--where a cadence is expected. See, also, Mozart

pianoforte sonata No. 10 (in D major), first 12 measures; measure 8 is

a cadence-measure.



Here follow a few more examples which illustrate the most extreme

application of this principle of borrowed tones,--a mode of treatment

very common in the music of Mozart, Haydn, and, in fact, all classic

writers:--



It is difficult to believe that in each of these cases the long array

of 16th-notes should not constitute the actual beginning of the phrase,

but are only preliminary; and yet this is the only correct view to take

of it, and it is the view which will simplify all analysis, when

thoroughly comprehended. It must be seen that the cluster of

16th-notes in the cadence-measure (of the preceding phrase) is

one-sixteenth short of a full measure, and, therefore, it does not

represent the first measure of the next phrase, because our inviolable

rule is that the first measure of a phrase is its first full measure.

The above examples emphasize the correct manner of counting the

measures; and they simply illustrate possible methods of disguising

the cadence.



In some cases it is difficult to determine whether the tones which thus

disturb the repose of the cadence-measure belong to the cadence-chord

(that is, to the present phrase), or, as preliminary tones, to the

following phrase. Upon careful scrutiny, however, it will be found

possible to decide, by examining their melodic bearing, to which phrase

they pertain. In Example 22, they are manifestly (even in No. 5) a

part of the present phrase; in Example 23 and 24 they are as certainly

preliminary to the phrase which follows. In the following example they

seem to constitute an entirely independent little interlude, without

direct reference to either phrase:



* * * * * *



THE ELISION.--Finally, there are some (very rare) instances where the

composer appears to yield to the seductive influence of such extensive

preliminary groups as those seen in Example 24, and by setting aside

the trifling discrepancy, permits the apparent preliminary tones to

represent the actual first measure of the next phrase. This is

easily accomplished, when, as in Example 24, No. 2, it is only one

16th-note short of a full measure. And although this 16th, being the

cadence-chord, is actually equivalent to the whole measure, it is

sometimes less confusing to the hearer to silence it. This is called

stifling the cadence (or Elision); and its presence depends simply upon

sufficient proof that what was supposed to be the cadence-measure (and

to a certain extent is such) is at the same time really the first

measure of the next sentence. The following contains an illustration

of the elision of a cadence:





The proofs of this very singular and apparently untrustworthy analysis

are: (1) That there is absolutely no doubt about the first cadence,

marked *; (2) that a cadence is consequently due, and expected, four

measures later,--this proving the measure in question to be the

cadence-measure of the old phrase, as it is marked and as it appeals

to our sense of cadence; (3) that the last four measures unmistakably

represent a regular, compact phrase,--this proving that the

cadence-measure of the old phrase is unquestionably at the same time

the first measure, or actual beginning, of the new phrase. In a word,

one measure is lost--not in effect, for the elements of the expected

cadence are all present,--but in the counting. This lost measure is

the stifled cadence-measure, omitted by Elision.



Such cases are, as stated, very rare; so rare that the student will do

wisely to leave them quite out of his calculations.



In order to elucidate the embarrassing matter still more fully, we

shall take two more examples of a very misleading character, which the

superficial observer would probably define as elisions, but which are

almost certainly regular cases of disguised cadence merely:





Here again there is no doubt of the presence of a cadence at the first

*; but this cadence-measure appears almost as certainly to be at the

same time the initial measure of a new phrase. This, however, proves

not to be the case, because there are four measures left, without this

one. That is, counting backward from the final cadence, we locate the

first measure after, not with, the cadence-measure. And this is

the way the passage was meant to sound by its author, and the way it

will and must sound to the student who has properly cultivated his

sense of cadence.



This case is extremely misleading; it is hard to believe (and feel)

that the characteristic onset of the 16th-triplet figure does not

herald the new phrase; but all the indications of strict, unswerving

analysis (not to be duped by appearances) point to the fact that this

is one of the common cases of disguised cadence, and not an elision of

the cadence. The sforzando marks of Beethoven confirm this view,

and, as in Example 27, we have our four measures to the next cadence,

without this cadence-measure.



The characteristic traits of all these various phases of cadence

formation are:--



(1) That the actual cadence-tone in the melody may be of any

time-value, from the full extent of the cadence-measure down to the

smallest fraction of that measure. In Ex. 19 it was the former,

unbroken; in Ex. 17, No. 1, also, but broken into the six pulses of the

measure; in Ex. 20 it was shortened, by a rest, to one-half its real

value; in Ex. 26 it was reduced to one-quarter of its true value; in

Ex. 25, to one 8th-note; and in Ex. 24, No. 3, to one 16th-note.



(2) That the cadence-tone in the melody may be shifted forward to

almost any point beyond its expected position upon the primary accent.

In Ex. 20 (and many other of the given illustrations) it stands in its

legitimate place, at the beginning of the measure; in Ex. 21 it stands

upon the second accent of the measure; in Ex. 22, No. 1, on the

second beat in 3-4 measure; in Ex. 22, No. 5, on the third beat 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.)