Tinctoris' Eight Rules of Composition
From his third book on counterpoint.
Rule #1 Begin and finish with perfect consonance. It is, however, not wrong if the singer is improvising a counterpoint and ends with imperfect consonance, but in that case, the movement should be many-voiced. Sixth or octave doubling of the bass is not allowed.
Rule #2 Follow together with ténor up and down in imperfect and perfect consonances of the same kind. (Parallels at the third and sixth are recommended, fifth and octave parallels are forbidden.)
Rule #3 If ténor remains on the same note, you can add both perfect and imperfect consonances.
Rule #4 The counterpointed part should have a melodic closed form even if ténor makes big leaps.
Rule #5 Do not put cadence on a note if it ruins the development of the melody.
Rule #6 It is forbidden to repeat the same melodic turn above a cantus firmus of equally long notes, unless cantus firmus has a repetition in itself.
Rule #7 Avoid two or more consecutive cadences of the same pitch even if cantus firmus allows it.
Rule #8 In all counterpoint, try to achieve manifoldness and variety by altering measure, tempo, and cadences. Use syncopes, imitations, canons, and pauses. But remember that an ordinary chanson uses less different styles than a motet and a motet uses less different styles than a mass.
Read more about this topic: Johannes Tinctoris
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