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):-- [Illustration: Example 23.

Fragments of Beethoven and Mendelssohn.] [Illustration: Example 23 continued.

Fragment of Mendelssohn.] 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.