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Rimsky-Korsakov, Practical Manual of Harmony in English

Nikolai Rimsky-Korsakov · section 76 of 96

On the Figured Chorale, and the Harmonization of a Melody Containing Melodic Ornamentation

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Counterpoint AppliedPercy Goetschius · the figured choraleCounterpoint for BeginnersC. H. Kitson · the figured chorale

§ 74.— 1) When developing the parts of simple harmonic progressions with melodic ornamentation, one must avoid:

a) Melodic figures formed solely of neighbour notes:

[Example]
Fig. 317 · See it in the reader

b) Melodic figures formed of repeated chord notes:

[Example]
Fig. 318 · See it in the reader

c) Several melodic figures spanning a sixth, composed of chord notes and amounting rather to harmonic ornamentation:

[Example] etc.
Fig. 319 · See it in the reader

d) Disjunct motion after the resolution of suspensions:

[Example]
Fig. 320 · See it in the reader

e) Short-valued leaps of the leading note to the third below:

[Example]
Fig. 321 · See it in the reader

f) Repetition of the note that resolves the suspension:

BAD — GOOD
Fig. 322 · See it in the reader

g) The immediate repetition of the last note of a melodic figure on the strong beat of the bar and in the same part:

[Example]
Fig. 323 · See it in the reader

2) When harmonizing chorale melodies, these must not be altered in any case; in the other parts one should try to sustain the initial motion without interruption, stopping it only at the fermata.

Chromatic passing notes are to be avoided.

3) When harmonizing melodies that contain melodic ornaments, one should take care, wherever the melody comes to a halt, to sustain its motion in the other parts.