Consecutive parallel octaves between the same pair of voices, in both parallel or contrary motion, are not allowed.

Sharpmony will detect the parallel octaves that are not allowed, and will mark the 2 notes corresponding to the 2 voices that produce the parallel octave in the first chord, using RED color.

The lines and numbers in the following example have been added to the Sharpmony correction to better show where the octaves are located.

Consecutive parallel fifths between the same pair of voices in parallel or contrary motion are not allowed.

Exception

1. Consecutive parallel fifths are allowed when the second is a diminished fifth.
2. Consecutive parallel fifths are allowed as long as they occur in a chord disposition change, or in two consecutive chords featuring the same dominant functionality (V-VII or vice versa).

Sharpmony will detect the parallel fifths that are not allowed, and will mark the 2 notes corresponding to the 2 voices that produce the parallel fifth in the first chord, with RED color.

The lines, numbers, as well as the text in the following example have been added to the Sharpmony correction to better show where the fifths are located.

This will occur when a chord (harmonic interval between the 2 voices) does not contain the correct notes or when the accidentals belonging to the current key have not been correctly assigned. This will also happen when a mandatory inversion for a given chord is not applied to the chord (such as augmented sixth).

Sharpmony will check whether the chords belong to the key and figured bass, and in the case of a mismatch will mark the chord or chords as wrong with the GREEN color.

In the following example, explanatory text has been added to the Sharpmony correction.

Indirect (non-consecutive) fifths and eighths are only allowed if they are separated by at least more than one proportion of the cantus firmus (cf - given voice). That is, if the cf is made up of whole notes, then it must be separated by more than one whole; if the cf is made up of half notes, then it must be separated by more than one half note, and so on.

Sharpmony will detect the eighths and/or indirect fifths not allowed and will mark, in the above chord with the color ORANGE, the 2 notes corresponding to the 2 voices forming the octave or the fifth.

The lines, numbers as well as the text in the following example have been added to the Sharpmony correction.

Dissonant leaps must be avoided: augmented or diminished, as well as 7th and 9th leaps. Sharpmony will detect and mark the corresponding note with BLUE color.

Exceptions

1. Dissonant leaps will be allowed as long as they occur in a chord disposition, or in two consecutive chordsfeaturing the same dominant functionality (V-VII or vice versa).
2. If after a dissonant melodic leap not allowed the melodic movement continues by stepwise contrary motion, it will be allowed and no error will be marked.

The lines, numbers, as well as the text of the following example have been added to the correction provided by Sharpmony.

For the 2-voice Counterpoint, the Soprano and Bass voices have been established in Sharpmony as the ones to be used, with their respective maximum tessituras and always considering choirs of amateur voices.

If any of the voices exceeds the maximum tessitura, Sharpmony will detect and mark them, with the assigned color, CHOCOLATE.

Any Diminished 5th , 7th or 9th belonging to a chord featuring dominant function, must be prepared from the previous chord -with no motion or stepwise motion- and must resolve be downward stepwise motion, either chromatic or diatonic movement.
(*) In two-part counterpoint, only the diminished 5th can be used (7th and 9th will appear when additional voices are used).

Exceptions

1. Above describe rule is not mandatory if the movement belongs to a chord disposition change when working as a dominant chord (V-VII or vice versa) in two consecutive bars. Moreover, in a given species counterpoint preparation and resolution of diminished 5h, 7th and 9th, are not required, given that we are chord disposition change.
2. Both indirect preparation and resolution are also allowed, provided that an adjoining voice prepares or resolves the note.

The lines, numbers and text in the following example have been added to the correction provided by Sharpmony.

When two voices movement produces unison interval, it is required that both the movement before and after that unison must follow contrary or oblique motion. It will be allowed only in the first and last bars, both in strong and weak beats; or in the other bars only in the weak beats. No embellishments can be added to unisone movements.

Sharpmony will detect and mark the corresponding interval BURGUNDY color.

The lines, circles, squares and text in the following example have been added to the correction provided by Sharpmony.

Hidden consecutives, Fifth and Octave, (by direct movement).

Exceptions

1. Hidden fifths and octaves are allowed when disposition changes are applied in a given chord, or two consecutive chords dominant chords are employed (such as VII-V or V-VII).

Sharpmony will detect not allowed motion, and will mark it in the first chord the 2 notes in the hidden 5th or 8th.

Lines, squares and red text have been added over the Sharpmony correction.

When the chord after a dominant one includes the root, the leading note must resolves into the root.

Exceptions

1. When the root is not part of the next chord, the leading tone can stay or move stepwise ascending, but never descending.
2. If the leading note is part of the 3rd scale degree chord (therefore not featuring dominant function) it can move freely.
3. If we have reached the leading tone from the root, it can move freely.
4. In a change of disposition of the same chord, or in a change of disposition between 2 chords of the same dominant functionality (V-VII or vice versa) between 2 consecutive measures. In addition, within each bar, the non-resolution of the leading note will not be taken into account, since it will be considered as a change of disposition of the same chord.
5. Indirect resolution of the leading note is allowed.

Sharpmony will detect wrong leading note movements and mark the corresponding note with LIME color.

Circles, lines, numbers and red text in the example have been added to the correction provided by Sharpmony.

Using three or more consecutive thirds or sixths in strong part is not allowed.

Sharpmony will detect this and mark it as an error, the first one with the DORADO color.

The lines, numbers and texts in red in the following example have been added to the correction of Sharpmony correction.

Any counterpoint must begin and end with the first degree of the key without inversions (5) or in first inversion (6). Moreover, the last note must always be in first species, regardless of the species in which the exercise is being performed.

Likewise, in the first bar, the entries of the voices should be started in a staggered way (starting with silence), except in the first species when both voices begins at the same time.

Sharpmony Sharpmony will detect if the beginning and the end of the exercise follows the above described rules, and in case of error, it will mark it with the CORAL color.

The lines, numbers and texts in red in the following example have been added to the correction of Sharpmony.

All the counterpoint exercises should end with the cadence: Dominant - Tonic function, where the dominant function can be the degrees V, V6, VII5/ or VII6; and the tonic can be I or I6.

Sharpmony will analyze and check it it will mark it with the color AGUAMARINA, if this rule is not fulfilled.

The box, Roman numerals, as well as the red text in the following example, have been added to Sharpmony's correction.

It is not allowed to repeat a given note consecutively from first to third species counterpoint. In 4th species it can be repeated as a delayed note, In 5th species this rule is not applied. On the other hand, a given melodic fragment (3 or more consecutive notes) cannot be repeated more than twice. Sharpmony will check and detect repetitions and mark the notes with ULTRAMARINE color.

The box and red text has been added to the following example.

All harmonic intervals that do not belong to the real notes of the triad chord formed with respect to the bass voice, will be considered as dissonante, and Sharpmony will mark them with the TURQUESA color.

In addition, any harmonic interval that does not correspond to the figured bass (whether consonant or dissonant) will also be considered dissonance, i.e., it will be considered a dissonant harmonic interval. In this case, only the dissonance in the weak part will be allowed, provided that it is maintained from the previous bar and is resolved by stepwise descending.

From the fourth species on, the dissonance of harmonic interval in the strong part of the measure will also be allowed, as long as it is prepared, and the dissonant harmonic interval of augmented second resulting from altering the leading note will also be allowed in minor mode (in strong or weak part).

Large melodic leaps (from 6th onwards) are allowed, even dissonant leaps, as long as they are followed by stepwise movement in the opposite direction.

Arpeggios including 3 or more consecutive notes of a single chord is not allowed.