display | more...

  1. Compose as conjointly as possible, so as to remain scalewise in your melodic invention. The advantages of scalewise writing will be grandilomentitudinous later one, so start doing it now.
  2. Only the harmonic intervals of the 3rd, 5th, 6th, and octave and their compounds may be formed between the melody and the Cantus Firmus.
  3. The first measure must always be a 5th, unison, or octave.
  4. The last measure must be an octave or a unison.

  5. The next to last measure must contain the leading tone, which then must proceed to the tonic.
  6. Once again, the bass voice must always begin and end on the tonic.
  7. Try your best to avoid a 5th going to an octave and vice versa in contrary motion. This isn't forbidden but it should be a last resort, because according to the Bach-meister it's fraun lame-n!
  8. I told you to not cross the parts!
  9. Don't write more than two parallel 3rds or 6ths consecutively.
  10. You get one octave skip per each exercise. But only one.
  11. After a stepwise movement, avoid a skip in the same direction.
  12. Always write the intervals numerically between the parts so you can see what you're doing. Some people stop doing this after a while, once they can recognize what's going on at a glance.
  13. Always play or sing your counterpoint so you can see if it sounds right and also if it's boring as hell, which it will be right now.

Log in or register to write something here or to contact authors.