6/13 The semicadence rests upon a dominant chord (fifth-step) of D major; the perfect cadence upon the same chord, it is true, but as _tonic_ harmony of A major, with keynote in the extreme parts. Being a keynote, though not in the original key, it is valid as perfect cadence. 13):-- [Illustration: Example 47. Fragment of Beethoven.] [Illustration: Example 47 continued.] In this example, the condition of Variety predominates decidedly. The Consequent melody differs totally from the Antecedent, even in rhythm, and the necessary portion of Unity is exhibited only in equality of length, _uniformity of accompaniment_, and similarity of character (tonality, and general harmonic and rhythmic effect). |