Johannes Tinctoris

Because he was paid through the office of petites vicars at Cambrai Cathedral for four months in 1460, it has been speculated that he studied with Du Fay, who spent the last part of his life there;[2][3] certainly Tinctoris must at least have known the elder Burgundian there.

While they are not particularly original, borrowing heavily from ancient writers (including Boethius, Isidore of Seville, and others) they give an impressively detailed record of the technical practices and procedures used by composers of the day.

While not much of the music of Tinctoris has survived, that which has survived shows a love for complex, smoothly flowing polyphony, as well as a liking for unusually low tessituras, occasionally descending in the bass voice to the C two octaves below middle C (showing an interesting similarity to Ockeghem in this regard).

It is, however, not wrong if the singer is improvising a counterpoint and ends with imperfect consonance, but in that case, the movement should be many-voiced.

Rule #4 The counterpointed part should have a melodic closed form even if ténor makes big leaps.