Nikolai Rimsky-Korsakov · section 69 of 96

simple, double, etc

Read and hear this section in the playable edition →

§ 67. — 1) Chromatic passing notes may be placed between real notes a major second apart, or between diatonic passing notes. They may occur in one or in several parts at once, and at the same time as diatonic passing notes:

Example a)–f): chromatic passing notes (+) in one part, in two parts at once, and together with diatonic passing notes. — Fig. 270 · See it in the reader

2) A chromatic passing note must not occur at the same time, unaltered, in another part:

Example 1)–4): a chromatic passing note (+) sounding against the same note unaltered in another part (joined by a line). — Fig. 271 · See it in the reader

The first example may nevertheless find its use, as can also be seen from the preceding example (e).

REMARK. — We draw the student's attention to the good use of chromatic passing notes formed immediately before passing minor sevenths, and especially in triple time:

Example in 3/4: in each bar a chromatic passing note (+) leads directly into a passing minor seventh (bass C–B–B♭, A–G♯–G, F–E–E♭; tenor D–C♯–C; alto G–F♯–F). — Fig. 272 · See it in the reader

as well as to the use of chromatic passing notes in two parts at once when the seventh is displaced:

Example: chromatic passing notes in two parts at once while the seventh moves to another part; figures 6/5, 6/5 | 7, 6/4, 2. — Fig. 273 · See it in the reader