embellishments. This excludes the use of the unprepared seventh and
ninth; all diminished and augmented triads except in their first
inversion; and all six-four chords, except when the lowest part is
treated as a passing-tone.

[Illustration: Fig. 89.]

Consecutive major thirds may be used when three or more parts are employed.
[Fig. 90.]

[Illustration: Fig. 90.]

A note may now be repeated in the lowest part when it becomes the seventh
of a dominant seventh-chord. [Fig. 91.]

[Illustration: Fig. 91.]

In writing, use soprano, alto and tenor, or alto, tenor and bass; and do
not separate upper parts more than an octave. For a chord or two they may
(for the sake of better voice-leading) separate a tenth.

All hidden fifths and octaves are bad, except between I and V and V and I.
[Fig. 92_a, b_.]

The perfect fifth following the diminished fifth is good when taken in an
upward direction stepwise in the higher parts. [Fig. 92_c_.]

[Illustration: Fig. 92.]

All cadences used in harmony are good.