24, No.

3, to one 16th-note.
(2) That the cadence-tone in the melody may be shifted forward to almost any point beyond its expected position upon the primary accent.
In Ex.

20 (and many other of the given illustrations) it stands in its legitimate place, at the beginning of the measure; in Ex.

21 it stands upon the _second_ accent of the measure; in Ex.

22, No.