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More than one non-harmonic tone may occur at a given point. Simultaneous non-harmonic tones normally form harmonic intervals of thirds, sixths, or octaves. The octave occurs when two passing tones move in contrary motion. This is called passing through the octave.

FIGURE 8.22: Passing Through the Octave
Simultaneous non-harmonic tones may be figured two ways. Vertical combinations are figured with the numerals arranged from highest to lowest, regardless of the voices in which the non-harmonic tones occur.

FIGURE 8.23: Vertical Figuring for Simultaneous Non-Harmonic Tones
Linear movement of individual voices is figured starting from the figuring of the chord's position.

FIGURE 8.24: Linear Figuring for Simultaneous Non-Harmonic Tones
Non-harmonic tones of the same kind can occur simultaneously. The most common are passing tones or auxiliaries. Some have become so widely used that a change of chord analysis may occur (auxiliary ).

FIGURE 8.25: Passing Tones and Auxiliaries used Simultaneously
Another kind of simultaneous use is the appoggiatura six-four. It is similar to a cadential six-four. It uses the 6 to 5 and 4 to 3 voice leading and appears in a strong-weak rhythmic relationship, but not at a cadence. The two uses of the appoggiatura six-four are the I to V or IV to I.

FIGURE 8.26: Appoggiatura Six-Four
Non-harmonic tones of different kinds also occur simultaneously. A passing six-four is an example of the use of passing tones, passing through the octave, combined with a lower auxiliary.

FIGURE 8.27: Comparison of Passing Six-Four and Simultaneous Use of Different
Non-Harmonic Tones


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