Nikolai Rimsky-Korsakov · section 67 of 96

Diatonic Passing Notes

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§ 65. — 1) If the distance between two real notes is a third, one diatonic passing note may be placed between them; if the distance is a fourth, two may be placed.

2) Diatonic passing notes are taken from the natural major scale and the melodic minor scale.

3) Passing notes placed in a single part are called simple; they are called double or triple, etc., if they are placed in two or three parts at once.

Example: simple passing notes (+) in one part at a time: soprano D between C and E; bass B between C and A; tenor F♯ and G♯ between E and A (melodic minor); alt — Fig. 260 · See it in the reader

4) Passing notes do not conceal forbidden successions.

Incorrect: parallel fifths (D–G to B–E) and parallel octaves (E–E to G–G) are not hidden by an intervening passing note. — Fig. 261 · See it in the reader

5) Double passing notes must move in parallel thirds or sixths, or in contrary motion:

Example: double passing notes (+) in parallel sixths (soprano and alto), parallel thirds (alto and tenor), and contrary motion (alto and tenor). — Fig. 262 · See it in the reader

6) As for triple passing notes, two parts move in parallel thirds or sixths and the third in contrary motion to those two; it also happens that all three parts move in parallel, forming chords of the sixth:

[Example] etc. — Fig. 263 · See it in the reader

7) To make the parts sing well by means of passing notes, one may resort to incorrect doublings of the notes of a chord:

[Example] — Fig. 264 · See it in the reader

8) Among passing notes, the best are those that form an incidental chord, e.g. passing notes forming a seventh or a ninth.

REMARK.— We point out the good use of double passing notes formed between the chord of the fifth and sixth and the chord of the third and fourth.

[Example] etc. etc. — Fig. 265 · See it in the reader