26, last four measures; the semicadence is made upon the dominant of C minor.
In the following: [Illustration: Example 35.

Fragment of Schumann.] the semicadence in the fourth measure is made with the dominant harmony of C major (the tones _g-b-d-f_); it is so disguised as to remove all signs of interruption; but the chord _prevails_ throughout the measure, and (as may be seen by reference to the original, op.

68, No.

3) the next measure--the fifth--exactly corresponds to the first; this indicates another "beginning," and proves our "ending." But though the dominant is thus generally employed at the semicadence, it is by no means the only available chord.

It must be remembered that every cadence which does not fulfil the definite conditions of the perfect cadence, is a semicadence.