Nikolai Rimsky-Korsakov · section 79 of 96

EXERCISE No. 31 (MELODIES WITHOUT GIVEN BASS)

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Model realization in F major, 4/4, four bars, with free ornamentation in the melody — Fig. 331 · See it in the reader

REMARK.— Parallel fifths arising from the appoggiatura are justified by that very fact (see the first bar of the model).

§ 76.— It remains for us to point out the following free melodic ornaments:

4) The anticipation: a note which, belonging on a strong beat or on the strong part of a beat, is placed prematurely in the same part on the preceding weak beat or weak part of a beat. The anticipation should be fairly short.

The anticipation may precede the chord note in one part or in several parts at once:

Four cadential fragments with anticipations (marked +): in the soprano alone; in soprano and tenor; in soprano, alto and tenor; and in all four parts. — Fig. 332 · See it in the reader

The anticipation is most often used in concluding cadences.

The anticipation may also be used before a diatonic or chromatic passing note, before a neighbour note and before an appoggiatura:

instead of: … etc. one writes: … etc. — Fig. 333 · See it in the reader