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Another example (within a quickly moving sequence) is in Chopin, Ballade, Op. 38. The passage in Am, beginning at m. 7, tonicizes F major before moving into a ii-V-I cadence in Am.
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No extra beats. Straight 4. But, there is often an emphasis on beat 2 that is preceded by a melodic figure (that sounds like an anticrusis figure) that occupies beat 1. Charles Ditto
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