In counterpoint, anticipation tones are allowed only if they are:

Study for the TExES Music EC-12 (177) Test. Access flashcards and multiple choice questions, each with hints and explanations. Prepare thoroughly for your exam!

Anticipation tones in counterpoint are typically tones that precede the main pitch of a melodic line by creating a sense of expectation. For these tones to be considered effective and structurally sound within a composition, they should be directly harmonized. This means that when the anticipation tone is played, it must lead into a harmony that supports or reinforces it when the expected tone arrives on the beat. This direct harmonization ensures that the transition is fluid, maintaining the integrity of the counterpoint between the voices involved.

The other options do not accurately reflect the role of anticipation tones in counterpoint. Playing anticipation tones before the beat indicates their role as leading tones, but without direct harmonization, they can create dissonance that detracts from the overall harmonic movement. Playing anticipation tones later in the sequence would negate their function, as they wouldn’t serve their purpose in creating expectation. Lastly, disregarding anticipation tones entirely overlooks their important role in creating tension and resolution, which is essential in counterpoint usage.

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