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FOR CANTUS FIRMI

1. Cantus Firmi don't extend beyond the range of a 10th, and usually remain within
the range of a single Octave.
2. Most Cantus Firmi are 8-16 notes in length.
3. Cantus Firmi begin and end on the tonic pitch.
4. Cantus Firmi usually approach the final tonic by STEP.
5. Cantus Firmi contain a single Climax (extreme note), may travel low, high or
both directions, but not too much.
6. Cantus Firmi contain NO rythmic variation (they are composed exclusively of
whole notes)
7. Cantus Firmi contain mostly STEPWISE motion but have some jumps (usually small.)
8. Leaps larger than a fourth are followed by stepwise motion in the opposite
direction in order to balance the height of the jump.
9. Cantus Firmi must be smooth, read rule 10.
10. Cantus Firmi do not contain more than two leaps in a row, and consecutive leaps
are usually in opposite directions.
11. The intervals between consecutive pitches in a Cantus Firmus must always be
melodic consonances.

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FOR CONTRAPUNCTI:

A) THE BASIC CONTERPOINT

1. The same rules for composing a Cantus Firmus apply to composing contrapunctual
melodies.
2. The two melodies should display melodic independence; otherwise it may sound
like accompanying harmony. Conterpoint is meant to highlight different melodic
lines in harmony with eath other.
Signs of melodic independence:
* Independent climaxes (though both must end of tonic)
* No voice crossing (the same note on the same register).
* Independent melodic contours (directions)
3. Sequences should be avoided in SMALL WORKS: for exclusive melodic independence.
Sequences are allowed and necessary in larger works, especially in canons&fugues.
4. The two parts should be kept within a perfect 12th of each other in order to
maintain a strong audible harmony (very separate ranges sound weak.)
5. The resolution should be reached in CONTRARY stepwise motion.
6. Unisons should be avoided, except for the first and last measures.
7. The rules of polyphonic motion also apply for contrapunctual melodies.
8. A work of counterpoint must remain in the same key as the Cantus Firmus.
9. The majority of consonances within the counterpoint should be imperfect, like
3ths and 6ths.
10. The counterpoint must begin and end in a perfect consonance.
11. If the counterpoint is composed ABOVE the Cantus Firmus, the starting interval
may be a 5th or an Octave.
12. If the counterpoint is composed BELOW the Cantus Firmus, the starting interval
must be an Octave.
13. 4ths are allowed, but used with caution.

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SOME TIPS:

* Start by composing the final cadence, to have an easy and clear goal in mind.
* Then compose the opening interval.

* Try to plan for the arrival of the climax.

* Try to use CONTRARY and OBLIQUE motion as MUCH AS POSSIBLE

(Direct motion requires more care to avoid voice leading, harmonic and melodic
issues.)

* When using direct motion, use imperfect consonances as much as possible, like 3th
and 6ths. Perfect consonances in direct motion are highly problematic.

* Maintain a smoooooooth like

a) Use mostly steps, they are very melodic.
b) Fill in skips and leaps (larger than a 4th) with stepwise motion in the opposite
direction.

* Avoid repetitive sequences to add more variation and emotion.

* Try to use a majority of imperfect consonances.

* Utilize voice exchage to switch between types.

* Avoid crossing voices.

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Voice exchange occurs when the pitches of two melodies move in contrary motion in a
fashion that causes the original pitches to exchange parts at the end. Example:
1voice C, 2voice E, ends as 1voice E, 2voice C.

Voice exchange occurs between imperfect consonances most of the time.

*Imperfect consonances occur most of frequently in counterpoint.
*Voice exchange occurs after only two steps of contrary motion between imperfect
consonances.