Music Theory Department, Governor's Magnet School for the Arts, Norfolk, Virginia
Rules of Counterpoint
Bunnies studying the rules of counterpointThis page will show you some of the rules of common practice for counterpoint and voicing. The various elements of partwriting are discussed here.

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The 3 Commandments of Partwriting

Chord
Progressions
1 Never double the third of a chord.
2 Don't cross parts.
3 The seventh of the dominant seventh chord resolves down to the third of the tonic chord.

Ranges of Voices
Ranges of Voices

First measure - Soprano

Second measure - Alto

Third measure - Tenor

Fourth measure - Bass

Rules for Doubling
1) When the root is in the bass, double the root.

2) When the fifth is in the bass, double the fifth.

3) When the third is in the bass, double the soprano, unless the soprano is a third, then double the root.
 
I Tonic--can be followed by ANY CHORD.
II Supertonic--can be followed by V, III, IV, VI, and VII.
III Mediant--can be followed by VI, IV, II, V.
IV Subdominant--can be followed by V, I, VI, VII, II, III.
V Dominant--can be followed by I, VI, III, IV.
VI Submediant--can be followed by II, V, IV, III.
VII Leading Tone--can be followed by I, VI, III, V.

Types of Motion

1) Similar Motion--both lines move in the same direction.

2) Contrary Motion--both lines move in an opposing direction.

3) Oblique Motion--one line stays constant and one moves.

The first measure shows an example of parallel octave and parallel fourth movement. The second measure shows an example of parallel fifth movement. Both should be avoided.
 

Open and Closed Position
Open and Closed Positions

a) open position - distance between soprano and tenor is more than an octave.

b) closed position - distance between soprono and tenor is less than and octave and/or all three or four voices are within one octave.