At this point you can think of writing counterpoint as having to fulfil three separate systems of constraints:
- Harmonic constraints – either given by a bass and figures, or one you create out of standard baroque progressions (Cadences, Sequences, Rule of the Octave)
- Diminution constraints – using diminutions that would be acceptable in this style
- Motivic constraints – once a motive is introduced (either by you or by the partimento) it is favored to be used again and again
These constraints can help you check your work.
- If anything sounds ‘wrong’ – check the harmonic constraints
- If it sounds out of style – check the diminution contraints
- If it sounds scattered or not coherent enough – check the motivic constraints