- Refer to Owen's Modal and Tonal Counterpoint chapter 18 for guidelines about structure.
- Write 2 parts, but imply triads and seventh chords.
- Write NO Perfect Parallels or parallel dissonances.
- In authentic and deceptive cadences, resolve scale degree 7 to 8 and scale degree 4 to 3.
- Resolve chord 7ths down by step.
- Do NOT double active tones, i.e. the leading tone, altered tones or 7ths of 7th chords.
- Do not overlap voices.
- Avoid augmented or diminished melodic intervals unless a 7th chord or diminished triad is outlined.
- Follow large melodic leaps by step in the opposite direction.
- Do not approach a chordal seventh by a descending leap.
- Do not approach perfect harmonic intervals by parallel or similar motion. Two exceptions:
- Perfect Fourths
- Horn Fifths
- Do not write succesive perfect octaves or unisons in contrary motion.
- Do not write succesive perfect fifths in contrary motion.
- Resolve tritones properly. (The A4 resolves to a 6th and the d5 resolves to a 3rd.)
- Resolve altered pitches by ½ step in the direction of their alteration.