17, No.

2, fourth measure (semicadence, with _a_ instead of _f_ as principal tone in upper part, and disguised by the continuation of rhythmic movement to the end of the cadence-measure).
In Ex.

17, No.

1, the cadence is made with the tonic harmony of G minor, but with the Third (_b-flat_) at the top.
LOCATING THE CADENCES .-- Next to the recognition and comparison of the different melodic sections of a composition (in a word, the _melodic delineation_ of the whole), the most significant task in music analysis is the locating and classifying of the cadences.

They are the angles of the design, so to speak; and have the same bearing upon the sense of the music as punctuation marks have in rhetoric.