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.