| Fig. 11. |
Avoid consecutive perfect intervals. [[Fig. 12.]]
| Fig. 12. |
The augmented fourth (Tritone) is not only considered bad as a melodic interval by some authorities, but its appearance between different parts in successive intervals is also prohibited. This prohibition, however, holds good only when the chords in which it appears are in fundamental position, as in [Fig. 13a]. This is shown by the fact, that if one part skips as at b, there is no unpleasant effect.
| Fig. 13. |
Avoid consecutive major thirds in major keys. In minor keys they are good. [[Fig. 14.]]
| Fig. 14. |
Use adjacent voices in writing, and do not exceed the vocal compass of a voice.
Modulation may be resorted to within the exercises, but only to nearly related keys; for example, in C, to G, F, a, e, or d.
At the close parts should proceed stepwise to the unison, or octave. [[Fig. 15a].]