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.
[Illustration: Example 28.

Fragment of Beethoven.] 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.