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Rimsky-Korsakov, Practical Manual of Harmony in English

Nikolai Rimsky-Korsakov · section 94 of 96

Departures from the Strict Rule of Part Movement

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a) Two parallel fifths, the first diminished and the second perfect, are sometimes used in the inner parts when they are formed by the resolution of the first inversion of the diminished triad with the leading note in the tenor:

Example in C major, whole notes: the diminished triad B–D–F in first inversion (D3 B3 F4 F5) resolving to the tonic triad (C3 C4 G4 E5). Brackets between tenor
Fig. 393 · See it in the reader

b) The seventh of the dominant 4/3 chord rising in an inner part when the dominant stays still:

Example in C major, whole notes: tonic triad (C3 G3 E4 G4), dominant seventh as a 4/3 chord (D3 G3 F4 B4), tonic 6 chord (E3 G3 G4 C5); the seventh F4 rises to
Fig. 394 · See it in the reader

c) Procedures (a) and (b) together:

Example in C major, whole notes: tonic triad (C3 G3 C4 E4), dominant 4/3 chord (D3 G3 B3 F4), tonic 6 chord (E3 G3 C4 G4): the soprano seventh F4 rises to G4 ov
Fig. 395 · See it in the reader

d) The seventh rising (only in the alto) in close position of the parts, when the dominant chord resolves to the tonic triad or to the tonic 6 chord; in this case the bass moves downward:

Two examples in C major separated by a double bar, whole notes, each marked V above the first chord. (1) Dominant seventh G3 D4 F4 B4 (figured 7) to the tonic t
Fig. 396 · See it in the reader

e) Two perfect fifths formed by the resolution of the augmented 6/5 chord:

Example, whole notes: the augmented 6/5 chord A-flat2 E-flat3 C4 F-sharp4 (figured #6 over b5) resolving to the G major triad G2 D3 B3 G4; brackets marked 5 sho
Fig. 397 · See it in the reader

f) Two perfect fifths, the second of which comes immediately after a fermata:

Four-part example in C major, half notes, no time signature, four full bars and one half-note bar followed by "etc.": I, IV | I6, VII6 | I (fermata on soprano C
Fig. 398 · See it in the reader

g) Two fifths, parallel or produced by contrary motion, in final cadences, for the sake of a complete tonic chord:

Two cadences in C major separated by a double bar, whole notes, fermata over the final soprano C5 in each. (1) Dominant seventh without fifth G3 D4 F4 B4 to the
Fig. 399 · See it in the reader

h) The use of the harmonic minor scale in the upper part, with the movement of an augmented second:

Four-part example in C minor (key signature of three flats), whole notes, on a grand staff; the augmented second A-flat–B (and B–A-flat) in the soprano is marke
Fig. 400 · See it in the reader

We advise the student to refrain, in school work, from all the licences just mentioned (Supplement II).