to be observed, unless otherwise mentioned. Those regarding consecutive
perfect intervals are especially to be observed.

The fifth, when in the lowest voice, should be used as in two-part
counterpoint, except when used in V4/3 or the cadencing tonic six-four
chord.

The V4/3 chord may be used on the weak beat, necessitating the omission of
the third. [Fig. 95_a_.]

The third may be omitted (_b_), or doubled (_c_), on the weak beat in this
and succeeding species. [Fig. 95.]

[Illustration: Fig. 95.]

The minor or diminished seventh may be approached by a skip in an upward
direction on the weak beat in any part. This usually necessitates the
omission of some other chord-member on the weak beat.

The major or minor ninth may also be used in the same way, except in the
lowest part, provided it is at least a ninth above the root. [Fig. 96.]

[Illustration: Fig. 96.]

The progression from vii_6° to V in root-position or any inversion in the
same measure, is good. [Fig. 97.] Use _b_ and _c_ only when using other
than first species in two or more parts.

[Illustration: Fig. 97.]