The harmonic basis may be ornamental in character, in which case it should move independently of the concurrent melodic design.
Examples:
* [No. 265]-[266]. Tsar Saltan 103-104, 128, 149, 162-165 (cf. below).
Chords the most widely opposed in character may be used on a simple, stationary harmonic basis, a basis, founded, for example, on the chord of the tonic or diminished seventh.
Examples:
[No. 267.] Legend of Kitesh 326-328—Wood-wind and harps on a string basis.
[No. 268]-[269]. Kashtcheï the Immortal 33, 43.
[No. 270.] Mlada, Act II, before 17, 18], 20.
[No. 271.] The Golden Cockerel 125—Chords of the diminished seventh, on arpeggio basis (augmented fifth).
The effect of alternating harmony produced between two melodic figures, e.g. one transmitting a note, held in abeyance, to the other, or the simultaneous progression of a figure in augmentation and diminution etc. becomes comprehensible and pleasant to the ear when the fundamental sustained harmony is different.