Text-book of simple and double counterpoint including imitation or canon . bsorbed into the students consciousness asalways to be present and imaginable without effort, nobody willwish to say that counterpoint written by such a method is amechanical manipulation, a figuration of preconceived harmoniesand a hindrance to the spontaneity of melodic invention. Fancy has many ways open for its free development. Thelearning of the harmonic significance of tonic, super-dominantand sub-dominant could just as well be considered damagingto the creative activity of the fancy; nevertheless, the student,wh
Text-book of simple and double counterpoint including imitation or canon . bsorbed into the students consciousness asalways to be present and imaginable without effort, nobody willwish to say that counterpoint written by such a method is amechanical manipulation, a figuration of preconceived harmoniesand a hindrance to the spontaneity of melodic invention. Fancy has many ways open for its free development. Thelearning of the harmonic significance of tonic, super-dominantand sub-dominant could just as well be considered damagingto the creative activity of the fancy; nevertheless, the student,who, at the threshold of free counterpoint just begins to under-stand the technical terms, passing-tones, suspensions and chord-tones, would make poor progress. The fullness of possibilitieswould confuse him, and the attempt at writijig — whatever hisdesire — a couple of good counterpoints would hardly rewardhim for his expended efforts. Again it may emphatically be * When the octave enters close to the sixth, such an effect cannot bedenied, for example: 18. < iii^. 14 I. SIMPLE COUNTERPOINT. said that the present introduction to free counterpoint can beof value only to those who have mastered harmony and figura-tion. But for those who have attained this mastery progressis both easy and rapid, since the writing of counterpoint withone or more notes against one note is in reahty hardly morethan a rejietition of the exercises in figuration (but with theemphasized distinction that the harmonies are not predeterminedand a far freer development of melodic forms is possible than inthe course in figuration). It will be perceived that there is httle tobe outlined and explained, as nearly all is an affair of individualwork and practice, so that the teachers activity is Hmited to thatof correction only. The following explanations accompanyingthe paradigms have the particular object of showing the teacherthe points of view from which the work of the pupil is to beexamined and the way
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