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: [Illustration: Example 26.

Fragment of Mozart.] [Illustration: Example 26 continued.] 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_.