Intervals
Dissonant
Second, Fourth, Tritone, Seventh (plus octave versions)
Consonant
Perfect
Unison, Fifth (plus octave versions)
Imperfect
Third, Sixth (plus octave versions)
Motion
Parallel
Ascend or descend in same direction by step / skip
Contrary
Ascend or descend in opposite dircetion by step / skip
Oblique
One voice stationary, one voice ascends/descends by step / skip
These all actually boil down to 1 simple rule: You cannot arrive at a perfect consonance via parallel motion. However, the book specifies which movements are allowed verbosely, like so:
Perfect to Perfect (fifth to octave)
oblique, contrary
Imperfect to Perfect (six to fifth)
oblique, contrary
Perfect to Imperfect (fifth to six)
oblique, contrary, parallel
Imperfect to Imperfect (six to third)
oblique, contrary, parallel
Note against note (lets use whole notes in examples)
MUST only contain consonances
MUST start and end with perfect consonances
MUST NOT be unison elsewhere in the piece except start and end
MUST establish mode clearly at start (this can be translated to "we start on the tonic and should reinforce the tonic")
SHOULD maximize imperfect consonances, they are richer
MUST NOT travel by a tritone
MUST NOT travel by a major sixth
MAY travel above or below the cantus firmus (treat the cf as a upper/lower voice) when other options are thin
SHOULD NOT "battuta" — contract from 10th to an octave stepwise
SHOULD NOT leap to an octave consonance from a more "remote" consonance (except with many voices, the bass can do this)
SHOULD NOT travel stepwise for a total of a tritone (ok if the voice goes beyond the tritone, this requires looking behind 4 notes...)
Second to last note MUST be a major sixth (assuming cantus firmus is in the lower voice, otherwise minor 3rd. Another way of enforcing this is that the actual note must be a leading tone, raised 7th)
Two half notes against a whole note cantus firmus
Thesis (downbeat) MUST only contain consonances
Arsis (upbeat) MAY be dissonant, only if a part of stepwise motion