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Alterations
The diminished third produced by an altered tone and another note of the chord, should be avoided, since the ear has a tendency to perceive, enharmonically, an interval of second major, and its effect results confused. On the contrary, its inversion in an augmented sixth results clearly understandable.

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Auxiliaries (neighbour notes)

Half-step lower auxiliaries may be non-harmonic notes. Auxiliaries should not produce semitone relations (neither their doublings nor inversions) with other tones of the chord, except for the whole-step upper auxiliary and the half-step lower auxiliary.

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Note: the half-step lower auxiliary should be avoided when the ornamental note is sustained in an upper voice. In the same case, instead, it is possible to embellish by a whole-step. It is easily deducible that adding an auxiliary to a unison is not feasible.

Common Note
In a chord-link in root position, where the two chords have a common tone, this should be maintained in the same voice. Possible exception: the succession II - V. This rule is strictly applied to the close parts.

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Crossed voices
Occur when the lower of two adjacent voices has a pitch higher than the upper voice. Crossed voices are not normally permitted. In elementary exercises, crossed voices are generally a sign of rather clumsy writing. At an advanced level, crossed voices are sometimes writable in the interest of better balancing the parts, on condition that the voices do not lose their clearness, at the points where the crossing begins and ends.

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Direct octaves and fifths (hidden or covered)

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Generally, the disjunct harmonic motion to a perfect octave or a perfect fifth should be avoided. In the succession V - I, a direct fifth is exceptionally permitted, with the leading tone dropping onto the dominant, provided that the leading tone is not in the soprano voice (according to the choral style of Bach). Similar cases are also acceptable when an interval of fifth exists between the fundamental notes of the chords. Direct fifths and octaves are generally permitted when one of the voices moves conjunctly (between soprano and bass, the soprano voice must move conjuncly, preferibly by semitone). They are also allowed, except between bass and soprano, when the note of the octave, or one of the notes forming the fifth, has been heard in the preceding chord.

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Direct octaves and fifths (hidden or covered)

Generally, the disjunct harmonic motion to a perfect octave or a perfect fifth should be avoided. In the succession V - I, a direct fifth is exceptionally permitted, with the leading tone dropping onto the dominant, provided that the leading tone is not in the soprano voice (according to the choral style of Bach). Similar cases are also acceptable when an interval of fifth exists between the fundamental notes of the chords. Direct fifths and octaves are generally permitted when one of the voices moves conjunctly (between soprano and bass, the soprano voice must move conjuncly, preferibly by semitone). They are also allowed, except between bass and soprano, when the note of the octave, or one of the notes forming the fifth, has been heard in the preceding chord.

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Direct unison (hidden or covered)

It is always forbidden, at the educational level, as well as in counterpoint and fugue. Yet it can be found

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Doubling
Two voices on the same weak degree (II, III, VI), which is neither the fundamental nor the fifth of the chord (except for the second degree, in some cases), weaken the tonal sense of the chord. In most cases this kind of doubling is not acceptable. It is not possible to double an altered tone (e.g. an augmented fifth), since its resolution would produce parallel intervals of octaves or unisons. Doubling the fundamental of a triad built on the leading tone is samely impossible, since the leading tone must resolve to the tonic.

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Exchange of the seventh with the fundamental

The seventh of a dominant chord may be exchanged with another real tone of the chord, but never with the fundamental (pay attention, not to be erroneously taken here for an embellishment, before its natural resolution or other contrapuntual movements). The seventh should preferably be exchanged by descending motion, or ascending to the ninth.

False relation (cross relation)

The chromatic contradiction between two voices should be avoided, with the following exceptions: the resolution of the second degree diminished (Neapolitan Sixth) approaching a dominant seventh chord the false relation between the ascending and descending modes of the minor scale the false relation inside some embellishments (nota cambiata, changing tones) in parallel thirds or sixths

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Intervals among the voices

Bass and tenor may reach the maximum distance of two octaves. With open parts, the other pair of consecutive voices should be kept within the octave. With close parts, tenor and soprano should not overstep the distance of an octave.

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Objectionable melodic motions

Augmented and diminished melodic intervals (including the succession of two minor or major thirds, forming respectively a diminished or augmented fifth) should be avoided at first stage studies, trying to keep as much clear the music writing. Some diminished intervals are permitted (fifth, seventh, etc) when they resolve by conjunct and contrary motion.

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Octave and unison

In each couple of voices, writing an octave followed by a unison, or the contrary, must be avoided.

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Overlapping voices
Occur when a higher part moves to a lower position respectively to where the near lower part was, or when a lower part moves to a higher position respectively to where the near higher part was. Overlapping voices are not normally permitted, may be produced occasionally, provided that they do not occur between bass and tenor within the low range. However, one should wonder whether a more conjoint writing is possible, and verify that the chord-link results well balanced, thanks (for example) to the contrary motion in one of the other voices.

Parallel fifths (consecutive fifths)

FORBIDDEN
In each couple of voices, writing parallel fifths (or consecutive fifths by contrary motion) must be avoided, as well as compound intervals of fifth (twelfth). The succession diminished fifth just fifth is also forbidden, at the stage of rigorous studies. Sometimes it can be found in music literature, but never between bass and soprano.

PERMITTED
On the contrary, the succession just fifth diminished fifth is not unusual, particularly in a descending motion, having the diminished fifth resolve to a third. With the succession German Sixth (IV 3|5|6+ ) - V, parallel fifths between bass and tenor (only) are commonly used.

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Parallel fourths
Being the inversion of fifths, sound better if accompanied by parallel thirds.

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Parallel octaves
In each couple of voices, writing parallel octaves must be avoided, also when two voices move by contrary motion from one harmonic interval to the same harmonic interval.

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Parallel unisons
In each couple of voices, writing unisons in parallel motion must be avoided..

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Passing tones
It is advisable to keep under control all those relations dealing with semitones (major seventh and minor

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ninth) between the passing note and the other tones of the chord, and it is necessary to avoid them given the following cases: as for the major seventh, the bass note is non-harmonic,

as for the minor ninth, the soprano note is non-harmonic.

Should the passing tone produce an interval of third or sixth (or their inversions) with a real tone (or another passing tone), most probably, the result will not be much dissonant. A dissonance, considered too hard, may sometimes be avoided by another voice adding a further passing tone. Best judge being, as usual, the ear.

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Preparation of the diatonic seventh (non-dominant)

The note forming the dissonant interval of seventh with the fundamental should be heard as a consonance in the preceding chord, sustained in the same voice and preferably tied. The preparation should have also the same duration of the dissonance.

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Preparation, positioning and resolution of the ninth

PREPARATION

As for non-dominant ninths, the dissonant tone (the ninth) should be heard as a consonance in the preceding chord, sustained in the same voice and preferably tied.

POSITIONING

The ninth should not keep position under the fundamental (or under the leading tone, being a major dominant ninth). Dominant ninths are used in root position, first, second and third inversion. Non-dominant ninths are used in root position only.

RESOLUTION
The ninth resolves, naturally, by downward conjunct motion. Exceptionally, it may be sustained in the same voice at the same pitch, or move upwards conjunctly.

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Preparation and resolution of the Six-Four Chord

The interval of fourth between the bass and another voice of the triad in second inversion is considered an imperfect consonance. So, it should be prepared by sustaining the bass note, or the note of the fourth (making the bass move conjunctly), at the same pitch and in the same voice where it was in the preceding chord. The interval resolves by sustaining the bass at the same pitch in the following chord, or by conjunct motion. Possible exceptions, the successions II - I 4 | 6, VI - I 4 | 6 (in minor mode).

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Resolution of the leading tone

In the successions V - I , V - VI, if the leading tone is in the soprano voice of the dominant chord, it must resolve to the tonic. In other cases the following irregular resolutions exist: 1. the leading tone maintains its position 2. the leading tone is in the alto voice, and the soprano sounds the tonic in the following chord, where the leading tone should move to. In this case the subtonic may move downwards, preferably by conjunct motion 3. the same behaviour (2) is tolerable between bass and tenor or tenor and alto

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Resolution of the seventh

The note forming the dissonant interval of seventh with the fundamental should resolve downwards by conjunct motion. Some irregular resolutions exist: the seventh maintains its position moves chromatically the near lower voice sounds the note of resolution

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Resolution of altered notes

Raised notes have a strong tendency to resolve by ascending motion, just like leading tones, lowered notes, on the contrary, tend to resolve descending. Some exceptions exist: the resolution of the second degree diminished in the succession Neapolitan Sixth V the chromatic resolution

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Too large melodic intervals

Melodic intervals overstepping the sixth should be considered too large, except for the bass voice. As for the inner parts (tenor, alto), melodic intervals within the fifth would show a good habit.

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