Rules for Writing a Note-Against-Note Counterpoint

1. The first note of an upper counterpoint must be a 3rd, a 5th, or an octave above the
cantus. The first note of a lower counterpoint must be a unison or an octave below
the cantus. The unison may only be used in the first or last measure.
2. The counterpoint must end on the tonic. The penultimate note must be the leading
tone (raised in minor) for both upper and lower counterpoints.
3. The counterpoint must not use any accidentals except on the leading tone in the
penultimate measure of a minor setting, and must not move by augmented intervals,
7ths, or intervals larger than an octave (Ex. 1). Diminished melodic intervals may be
used if the melody changes direction by step immediately afterward (Ex. 2).
4. All counterpoints must contain a climax, and this climax should not be repeated. If
the counterpoint is above the cantus, the climax must be a high point; if below the
cantus, it may be a high point or a low point. It is best to avoid simultaneous
climaxes in both parts.
5. The counterpoint should mainly move by step, but should have a few leaps (Exx. 3
and 4). Leaps larger than a 4th should change the direction of the line, and should be
followed by a change of direction (Ex. 5).
6. Avoid excessive motion in one direction, especially with leaps (Ex. 6). More than
two consecutive leaps are not allowed. Two consecutive leaps in the same direction
must outline a triad.
7. Avoid redundancy resulting from repeated notes, from the excessive repetition of a
tone, the repetition of a distinctive group of tones, or from sequences (Exx. 7-9).
8. Only consonances (unisons, 3rds, 5ths, 6ths, octaves) and chordal dissonances
(tritones and 7ths) may be used between the parts. The perfect 4th as a harmonic
interval is considered dissonant in two parts and should not be used. When chordal
dissonances are used, they must be resolved correctly: augmented 4ths resolve out by
step (Ex. 10), diminished 5ths resolve in by step (Ex. 11), and 7ths resolve with the
top voice moving down by step and the bottom voice moving either up a perfect
fourth or down a fifth (Ex. 12).
9. Parallel perfect consonances (unisons, 5ths, octaves) are forbidden (Exx. 13 and 14).
Do not approach a perfect consonance in similar motion unless the upper voice moves
by step (Ex. 15). Parallel imperfect consonances (3rds and 6ths) are fine, but the
same imperfect consonance should not occur more than three times in a row (Ex. 16).
10. The voices may not cross or overlap (Exx. 17 and 18).
11. Avoid parallel 5ths and octaves by contrary motion, as well as other simultaneous
leaps, especially leaps in the same direction involving melodic intervals larger than a
4th (Ex. 19).
12. Notes may not be immediately repeated, but up to three pairs of notes may be tied.
However, the fewer ties, the better. Avoid successive ties. Ties at the beginning
work well.