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:-- [Illustration: Example 24.

Fragments of Mozart.] [Illustration: Example 24 continued.

Fragment of Beethoven.] 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.