By shifting the agogic and registral accent to beats 1 and 3, Copland contrasts the end of the cadenza with the syncopation utilized throughout the cadenza (example 8). By doing so there is a gradual transition from the syncopation of the cadenza to the strict duple meter of theme 4 in the second movement. Rather than creating a break through a metric cadence, each motive is expanded by a half note value. This additive process effectively expands the hypermeter gradually, and sets an expectation for the progression to continue. The first groupings of four and six are explicit, with the accented quarter note marking the end of the hypermeter. The next groupings of eight and ten are more implicit, but can be perceived by motive repetition and
