Whatever means may be resorted to, in modifying the cadence, they do not alter the fact that _the cadence-chord is always entitled to this full sum of beats_; and these beats virtually represent the cadence-chord, either in its unchanged form (as in Ex.

19 and Ex.

16) or in any of the manifold disguised forms illustrated in the following examples.
One of the simplest forms is shown in Ex.

15:--The cadence-chord, on the accented beat of the fourth measure, is entitled to the six beats contained in that final measure.

One beat is borrowed for the preliminary tone of the next phrase (that does not appear in our example, but corresponds to the preliminary tone at the beginning); and three beats are represented by rests, which cancel the resonance of the melody-tone _g_, but do not actually negate the effect of the cadence-chord.