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