The six beats to which it is entitled are all occupied by the simple reiteration of the final melody tone, while the sense of "interruption" is imparted by the long rest in the lower parts.
It is by thus sustaining the rhythmic pulse, during the measure allotted to the cadence-chord, that the desired dual impression,--that of cadential interruption without actual cessation,--is secured.

It is like rounding off a corner that might otherwise be too angular or abrupt.
* * * * * * The question naturally arises: What tones are chosen to provide material for this continuation of the rhythm?
They are usually derived from the cadence-chord, or its auxiliary embellishments; and the methods employed may be classified as follows: (1) The rhythmic pulse is marked in the accompanying (subordinate) parts, as seen in Ex.

15, Ex.

18, and the following:-- [Illustration: Example 20.

Fragment of Mendelssohn.] [Illustration: Example 20 continued.] The point of repose is marked by the longer melody tone _f_, on the accent of the fourth measure.