Harmony, its theory and practice . not only harmony notes but passing notes are anticipated. 326. Occasionally, though rarely, a note is anticipated in onevoice, and then taken in another, as in the following examples: Bach. Cantata.— Es ist dir gesagt. Ex. 250, Ex. ^P In Ex. 250, the note E of the alto in the third crotchet of thebar is anticipated in the treble ; and in Ex. 251 the first quaverin the third bar of the bass is similarly treated. 327. We will now briefly summarize the laws for the employ-ment of auxiliary and passing notes. I. Auxiliary notes may be taken either above or
Harmony, its theory and practice . not only harmony notes but passing notes are anticipated. 326. Occasionally, though rarely, a note is anticipated in onevoice, and then taken in another, as in the following examples: Bach. Cantata.— Es ist dir gesagt. Ex. 250, Ex. ^P In Ex. 250, the note E of the alto in the third crotchet of thebar is anticipated in the treble ; and in Ex. 251 the first quaverin the third bar of the bass is similarly treated. 327. We will now briefly summarize the laws for the employ-ment of auxiliary and passing notes. I. Auxiliary notes may be taken either above or below aharmony note. They can either be taken by step, in whichcase they must be preceded by the same harmony note whichfollows them, or by leap from a different harmony note. II. Passing notes can be introduced between any two har-mony notes which are a third apart. If the two harmony notesbe a fourth apart, and are the root and fifth of the same chord,two consecutive passing notes can be employed, in which case thesecond may never return to the first (§ 318). III. Changing notes (§ 313,) can be used either when thesame harmony note is repeated, or when the second harmonynote is a third above or below the first. IV. A single changing note (§ 314,) had better
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