The value of the cadence-chord is recorded, however, in the living tones of the accompanying figure, which here (as in almost every similar case in composition) continues its rhythmic movement undisturbed.
(2) The cadence-chord, or, more properly, the _cadence-tone_ in the melody, is shifted to some later beat in the cadence measure.

Thus: [Illustration: Example 21.

Fragment of Mozart.] In this example there is in reality no irregularity, because the cadence-tone rests upon an _accented beat_ (the fourth, in 6-8 measure), and the conditions of a cadence are fulfilled by _any_ accent, primary or secondary, of the final measure.

But it belongs, nevertheless, to this class of disguised cadences; for whatever results, thus, in abbreviating the value of the cadence-chord, lightens the effect of the cadence, and serves the desirable purpose so persistently pursued by all good writers.

Further:-- [Illustration: Example 22.