In consequence of these two reductions, the time-value of the _cadence-tone_ is diminished to two beats, and the whole cadence assumes a lighter, less obstinate and stagnant character.

Of the six beats belonging to the cadence-chord, four are occupied by the tones of the accompaniment, which thus serves to bridge over the measure of repose without destroying the impression of a cadence.
The treatment of the cadence is similar to this in Ex.

18.
In Ex.

17, No.

1, the cadence-chord falls, properly, upon the primary accent (first beat) of the final measure--in this instance the fifth measure, as we have learned.