Editing Counterpoint (section)

===Considerations for all species===
The following rules apply to melodic writing in each species, for each part:

# The [[Mode (music)#Western Church|final]] note must be approached by [[Steps and skips|step]]. If the final is approached from below, then the [[leading tone]] must be raised in a minor key (Dorian, [[Hypodorian]], Aeolian, [[Hypoaeolian]]), but not in Phrygian or Hypophrygian mode. Thus, in the Dorian mode on D, a C{{music|sharp}} is necessary at the [[cadence]].{{sfn|Salzer|Schachter1989|page={{Page needed|date=October 2015}}}}
# Permitted melodic intervals are the perfect unison, fourth, fifth, and octave, as well as the major and minor second, major and minor third, and ascending minor sixth. The ascending minor sixth must be immediately followed by motion downwards.
# If writing two [[Steps and skips|skips]] in the same direction—something that must be only rarely done—the second must be smaller than the first, and the interval between the first and the third note may not be dissonant. The three notes should be from the same triad; if this is impossible, they should not outline more than one octave. In general, do not write more than two skips in the same direction.
# If writing a skip in one direction, it is best to proceed after the skip with step-wise motion in the other direction.
# The interval of a [[tritone]] in three notes should be avoided (for example, an ascending melodic motion F–A–B{{music|natural}})<ref>{{Cite book|title=[[The New Oxford Companion to Music]]|date=1983|publisher=Oxford University Press|author1=Arnold, Denis.|author-link=Denis Arnold|author2=Scholes, Percy A.|author2-link=Percy Scholes|pages=1877–1958|isbn=0193113163|oclc=10096883|location=Oxford}}</ref> as is the interval of a seventh in three notes.
# There must be a climax or high point in the line countering the [[cantus firmus]]. This usually occurs somewhere in the middle of exercise and must occur on a strong beat.
# An outlining of a seventh is avoided within a single line moving in the same direction.

And, in all species, the following rules govern the combination of the parts:

# The counterpoint must begin and end on a perfect [[Consonance and dissonance|consonance]].
# [[Contrary motion]] should dominate.
# Perfect consonances must be approached by oblique or contrary motion.
# Imperfect consonances may be approached by any type of motion.
# The interval of a tenth should not be exceeded between two adjacent parts unless by necessity.
# Build from the bass, upward.