1. Rules for chord types remain the same as in 3v writing (diminished 6/3 ok; no augmented triads; major/minor 6/4 only in restricted situations)

2. No strong doubling rules any more. Still true that we try to use complete triads as much as possible, but occasional triplings do happen. 135 Avoid doubling ficta notes (this is essentially the same as the tonal rule about not doubling the leading tone) -- although Bb can be an exception.

[5-parts: triads always complete, doubling varies widely, but avoid more than one unison in a chord or ficta doubling. 178]

3. Spacing is more like tonal four-voice spacing -- the three upper voices generally closer together and the bass farther away, but this is by no means a rule. In fact, whenever possible try to keep the bass less than an octave from the tenor. 136

[5-parts: mostly free, but avoid more than one gap of an octave or more in a chord. 178]

4. Voice crossing is okay, but don't overdo it. 136

5. Avoid contrary fifths and octaves. Rules for direct fifths and octaves remain the same (fifths: one voice must move by step, ideally the upper voice); octaves: same -- these are rare, however).

[5-parts: fifths by contrary motion occur occasionally. 179]

6. In cadences, 4-3 suspension most common (except in the Phrygian mode, where 7-6 is the norm); fourth voice doubles the bass. Try to preserve the 6-8 clausula vera framework; because of that, final chord will frequently be incomplete. See Ex. 13-3. Also see plagal cadence formulas in Ex. 13-5 137-38

7. In suspensions, the bass is usually doubled. See figures in Ex 13-6. 138-39

8. Black notes handled as in three-part writing, but are less prevalent than in 2 or 3 voices. 139

9. Chord change rate more likely to be at whole note (semibreve) level than minim level. 139

10. Four-voice texture usually not maintained uniformly throughout (voices drop out and re-enter).

[5-parts: "less than a third" of a piece will use all five parts -- most common to have three or four within a phrase. 180]

11. Familiar style: chordal with cadence suspensions (4-3) 140; bass is usually doubled, upper voices are close together, 5/3 position preferred; repeated chords are common; ficta used more within phrases than in polyphonic style 141-42

12. Points of imitation. As in 3-voices, fifth-relationships (tonic-modal dominant) prevail, but asymmetrical entry sequences are less common than two symmetrical patterns: paired imitation (two voices enter close together, then go on for a while; other two voices enter with same phrase as first two: Ex. 14-1) 146-147 and double-subject (two voices in non-imitative counterpoint answered by the other two with the same phrase: see Ex. 14-4) 149 . Internal re-entries often use the same initial pitches, and voices often rest for several whole notes before re-entering. 149.

[5-parts: Two types: 1. asymmetrical, with fifth voice entering later than others; 2. "stretto," with all five parts entering close together. 180-81]

[5-parts: triads always complete, doubling varies widely, but avoid more than one unison in a chord or ficta doubling. 178]

[5-parts: spacing of voices is mostly free, but avoid more than one gap of an octave or more in a chord. 178]

[5-parts: fifths by contrary motion occur occasionally. 179]

[5-parts: "less than a third" of a piece will use all five parts -- most common to have three or four within a phrase. 180]

[5-parts: Points of imitation: two types: 1. asymmetrical, with fifth voice entering later than others; 2. "stretto," with all five parts entering close together. 180-81]