Harmonie, sa théorie et sa pratique . t parce que si aucune mention weremade de telles exceptions il pourrait naturellement infer, s'il mettait des passages similaires dans les oeuvres des grands maîtres, que therule ici donné était faux. Nous avons déjà dit que les règles strictes de ce chapitre sont strictement respectées par les grandeur compositeurs; mais elles ne sont pas les moins utiles, et même les plus nécessaires pour les débutants. 81. Règle VII Il est interdit à deux parties de passer de l'asecond à l'unisson. , * Ex. 54, # m ^ Cette progression est parfois utilisée lorsque la seconde est une note de passage comme à (#) ; mais l'étudiant est conseillé à avoi

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Harmony, its theory and practice . t because if no mention weremade of such exceptions he might naturally infer, if he metwith similar passages in the works of the great masters, that therule here given was wrong. We have already said that hardlyany of the rules in this chapter are strictly adhered to by greatcomposers; but they are none the less useful, and even necessaryfor beginners. 81. Rule VII. It is forbidden for two parts to go from asecond into a unison. , * Ex. 54, # m ^ This progression is sometimes used when the second is a passingnote as at (#) ; but the student is advised to avoid it even inthis case. 82. Rule VIII. It is generally bad to approach or leave aunison by similar motion. Ex. 65. ^^ This rule should be carefully observed by beginners; butitshould be added that in the works of the great masters instancesof its violation are sometimes to be-found. We give a few ex-amples by Mendelssohn, whose part-writing is remarkable forpurity and correctness. Mendelssohn. Part-Song, Auf dem See. Op. 41, No. 6.. El. 57. In both these passages the unison is between the tenor and bass, and the progression is from the dominant to the tonic chord.This is the case in which it is most frequently met with. 3» Harmony. [Chap. m. 83. We now give one example of the unison quitted bysimilar motion. Mendelssohn. Hirtenlied, Op. 88, No. 3. .58. < ^^^ S^, ri ^fi^^^^^fSu^ ^Ig 1^ • =^ ^^^Tj^-asLJ ^ ? r ip • a In the first and second bars of this example will be seen consecu-tive unisons (§ 67). Their excuse here is found in the factthat they occur between the last note of one phrase and thefirst of the following; had both formed part of the same phrase, they would have been objectionable. 84. Though the three passages last quoted show that similarmotion to or from a unison is not absolutely prohibited, it willbe advisable for beginners to abstain from its employment tillthey have learned by experience when it can be used effectively.There are many things done by compo

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