Fragment of Beethoven.] [Illustration: Example 22 continued.

Fragments of Mendelssohn, Schumann, and Mozart.] Nos.

2 and 3 illustrate the method most commonly adopted in shifting the cadence-tone forward to a later beat; namely, by placing an embellishing tone (usually the upper or lower neighbor) of the cadence-tone upon the accented beat belonging properly to the latter.
Nos.

4 and 5 are both extreme cases; the actual cadence-tone is shifted to the very end of the measure, so that the effect of cadential interruption is very vague and transient,--and will be quite lost unless the player is intelligent enough to emphasize, slightly, the phrasing (by making a distinct, though very brief, pause before attacking the following measure).

See also Ex.