Types of contrapuntal/Counterpoint

Motion of Voices

1._Parallel Motion – Two parts moving the same direction

and the same interval. two voices move in the same direction
by the same generic interval. For example, the following two
voices both move up by a step. Note also that both dyads
form the same generic interval (sixth). This will always be
true when two voices move in parallel motion.

2. Oblique Motion – One part moving and the

other stays on the same note. In oblique motion, one voice is
stationary, while the other voice moves (in either direction).
The stationary tone may or may not be rearticulated.
3. Contrary Motion – Both parts moving on opposite direction.
In contrary motion, two voices move in opposite
directions—one up, the other down.

4. Similar Motion. Both parts moving the same direction but

different Intervals. In similar motion, also called direct motion,
two voices move in the same direction, but by different intervals.
For example, the following two voices both move down, but the
upper voice moves by step while the lower voice moves by leap.
Note also that the two dyads are different generic intervals.
This will always be the case with similar or direct motion.
ZBasic Concepts for Part Writing in total harmony.

1. Counterpoint should begin and end on a perfect consonance. Such us perfect 4th, perfect 5th or perfect 8th
2. Perfect consonances must be approach by contrary motion or oblique motion
3. Use contrary motion whenever possible.
4. Two part should not be more than 10th apart
5. Avoid crossing voices whenever possible.
6. Avoid Parallel 5ths and octaves between parts
7. Avoid moving in Parallel 4ths, Parallel 3rds, 6ths for too long
8. Avoid leaping with two voices in the same direction simultaneously

SATB Rules
1. No Parallel 5ths
2. No Parallel Octaves
3. No hidden, Direct 5ths or Octaves
4. No Dissonant Leaps like Major 7th, Augmented or Diminished Intervals choose small intervals like Leading
Tone Resolving to the Tonic
5. Double the Root or 5th in Root position Chords, Double any Note in First Inversion Chords, Double the 5ths
in Second Inversion Chords, double the 3rd in Diminished Chords, Double the 3rd only when necessary to
Maintain Proper Voice Leading.
6. No Voice Crossing
7. Stay in the Accepted Vocal Ranges and Don’t put no more than an Octave between Soprano and Alto

Do So Do La
Fa Do Fa Do
Parallel 5ths and Octaves

Parallel Octaves