16; in the latter,--consisting as it does of four consecutive phrases, four cadences occur, distinctly marked by the _longer tone_ on the accented beat of each successive fourth measure.
MODIFICATION OR DISGUISING OF THE CADENCE .-- The most natural and characteristic indication of a cadence is the _longer tone_, seen in the examples to which reference has just been made; for a tone of greater length than its fellows is, in itself, the most conclusive evidence of a point of repose, as compared with the shorter tones in the course of the sentence, whose more prompt succession indicates the action of the phrase.

(See Ex.

29.) From this the student is not to conclude that every long tone marks a cadence.

The rhythmic design of a melody is obtained by a constant interchange of long and short tones, without direct reference to the cadence alone; and numerous examples will be found in which tones of equal, or even greater, length than the cadence-tone occur in the course of the phrase.

We have already seen that the end of a motive, or even of a figure, may be marked by a longer tone, or its equivalent in rests; and have been taught to expect a cadence in the fourth measure only, as a rule.
But the direct evidence of a cadence afforded by a longer tone is considered not only unnecessary, but in many cases distinctly undesirable.