It is always made upon the _tonic harmony_ of some key as cadence-chord, with the _keynote itself in both outer parts_, and--when desired in its strongest form (without such disguising as we have seen)--upon an _accented_ beat, and of somewhat longer duration than its fellow tones.

For illustration:-- [Illustration: Example 29.

Fragment of Schubert.] At the end of this four-measure phrase there is a perfect cadence, exhibited in its strongest, most conclusive form.

It is practically undisguised, though the cadence-chord is reduced to three beats (from the four to which it is entitled) to make room for the preliminary beat of the next phrase (calculated to correspond to the one at the beginning of this phrase).
The cadence-chord is the tonic harmony of C minor; upon the primary accent of the 4th measure; it is considerably longer than any other tone in the phrase; and the keynote _c_ is placed both at the top and at the bottom of the harmonic body.

See also Ex.