and the root does not come in until the second half of the measure. [Fig.
23_c_.]

[Illustration: Fig. 23.]

The unison is permitted on the weak beat. [Fig. 24.]

[Illustration: Fig. 24.]

Avoid broken-chord effects, that is, do not use more than three tones
belonging to the same chord in succession. [Fig. 25.]

[Illustration: Fig. 25.]

Avoid frequent skipping of parts. [Fig. 26.]

[Illustration: Fig. 26.]

Parts may cross occasionally, but should return immediately [Fig. 27.]

[Illustration: Fig. 27.]

Consecutive fifths or octaves on consecutive strong beats are bad; but they
are good on the weak beats _if the second fifth or octave is approached in
the opposite direction from the first_. [Fig. 28.]

[Illustration: Fig. 28.]

In minor the sixth degree may occasionally be raised on the strong beat, if
it is desired to proceed upward to the raised seventh degree. [Fig. 29.]