Counterpoint Rules

If you chose "Standard" rules:

• The interval between the given note and the note in your counter-melody should be
consonant (major/minor 3rd or 6th, perfect unison, 5th, or octave, or a compound
form).
• If the counter-melody is above the given melody, then the last note of the counter-
melody should be in the tonic chord.
• If the counter-melody is below the given melody, then the last note of the counter-
melody should be the tonic or third of the tonic chord.
• Parallel fifths: if the previous harmonic interval was a fifth, your next note should not
create the same harmonic interval again.
• Parallel octaves: if the previous harmonic interval was an octave, your next note
should not create the same harmonic interval again.
• Direct octaves or fifths: if both voices are moving in the same direction (and the upper
voice by jump), they should not move to a vertical octave or fifth.
• Avoid the tritone — the diminished fifth or augmented fourth interval — both melodic
(between notes in your melody) and harmonic (between your note and the given note
above or below it).
• Avoid augmented 2nds, both melodic (between notes in your melody) and harmonic
(between your note and the given note above or below it).
• Use notes in the key signature only. The only exception allowed is a sharp for the
leading tone in a minor scale.
• Leading tone resolution at cadence: if your second-to-last note is the leading tone, you
should resolve that up a half-step to the tonic at the cadence.
• Your counter-melody should move in steps, or in leaps of a 3rd, 4th, 5th, or 6th.
• Your counter-melody should not contain multiple successive large leaps (5th or 6th) in
the same direction.
• Your counter melody should not contain more than 3 leaps in a row.
• Avoid simultaneous leaps in the same direction.
• Simultaneous opposite leaps are only allowed if both voices leap by a third, or one
voice leaps by a third while the other voice leaps by a fourth.

If you chose "Strict" rules:

• If your counter-melody is above the given melody, the interval between the given note
and the first note in your counter-melody above should be a perfect unison, 5th, or
octave, or a compound form.
• If your counter-melody is below the given melody, the interval between the given note
and the first note in your counter-melody below it should be a perfect unison or
octave, or a compound form.
• The last note of your counter melody should form a perfect unison, octave, or double
octave with the given note above or below it.
• The second-to-last vertical interval should include both the supertonic (second note in
the scale) and the leading tone (...so the interval will be either a major sixth or a minor
third).
• For all other notes in your counter-melody: all vertical intervals should be larger than
the unison, and consonant (major/minor 3rd or 6th, perfect 5th or octave, or a
compound form).
• Parallel fifths: if the previous harmonic interval was a fifth, your next note should not
create the same harmonic interval again.
• Parallel octaves: if the previous harmonic interval was an octave, your next note
should not create the same harmonic interval again.
• Direct octaves or fifths: if both voices are moving in the same direction (and the upper
voice by jump), they should not move to a vertical octave or fifth.
• Avoid the tritone — the diminished fifth or augmented fourth interval — both melodic
(between notes in your melody) and harmonic (between your note and the given note
above or below it).
• Avoid augmented 2nds, both melodic (between notes in your melody) and harmonic
(between your note and the given note above or below it).
• Use notes in the key signature only. The only exception allowed is a sharp for the
leading tone in a minor scale.
• Repeated note: don't use the same twice in a row in your counter-melody.
• Your counter-melody should move in steps, or in leaps of a 3rd, 4th, 5th, or 6th.
• Your counter-melody should not contain multiple successive large leaps (5th or 6th) in
the same direction.
• After a melodic leap, your counter-melody should move a step in the opposite
direction, except: — after a leap of a 3rd, you can move a step in the same direction,
leap back a 3rd, or leap back a 4th.— after a leap of a 4th, you can leap back a 3rd.
• Avoid simultaneous leaps in the same direction.
• Simultaneous opposite leaps are only allowed if both voices leap by a third, or one
voice leaps by a third while the other voice leaps by a fourth.