1. Resolve all tendency tones. - [[ti → do]] - Except when using a [[free resolution of the leading tone]]. - Except when frustrating the leading-tone in sequences. - [[fa → mi (me)]] - Except when using a free resolution. - [[le → sol]] 2. Avoid parallel perfect consonances (e.g., P1, P5, and P8) in all voices, including P5s or P8s by contrary motion. 1. [[parallel fifths]] 2. [[parallel octaves]] 3. [[fifths by contrary motion]] 4. [[octaves by contrary motion]] 3. Perfect consonances in the outer voices (soprano and bass) must be approached through oblique or contrary motion. Breaking this rule creates [[hidden fifths]] or [[hidden octaves]]. - Except when soprano moves by step. 4. No more than an octave between: - Soprano and alto. - Alto and tenor. 5. Avoid crossed and overlapped voices. 6. In three-note chords, double the most logical chord member. Never double tendency tones as this will require you to break either rule 1 or 2. From most to least common, the doubling preferences are: - Root - Fifth - Third See [[voice-leading errors]].