Text-book of simple and double counterpoint including imitation or canon . in character and yet accompany-ing, so that the two come into a higher unity. 6 I. SIMPLE COUNTERPOINT. I do not know how many fetters attach themselves therebyto the freedom of conception; at any rate, when an objectivepoint and the principal stress-points are recognized, inventive-ness unfolds itself more freely than it could groping from noteto note of the cantus firmus. The old method has occupied our attention sufficientlylong, so we again return to the work self-evidently joined toprevious steps in theory (I. the
Text-book of simple and double counterpoint including imitation or canon . in character and yet accompany-ing, so that the two come into a higher unity. 6 I. SIMPLE COUNTERPOINT. I do not know how many fetters attach themselves therebyto the freedom of conception; at any rate, when an objectivepoint and the principal stress-points are recognized, inventive-ness unfolds itself more freely than it could groping from noteto note of the cantus firmus. The old method has occupied our attention sufficientlylong, so we again return to the work self-evidently joined toprevious steps in theory (I. the writing of four-part exercisesnote-against-note; 11. figuration and analysis). The followingcantus firmus illustrates the work: 1 -(22- :t= 12?: Key: c major or a minor; we decide in favor of the : the second and fourth measures are accented, thatis, cadential effects are upon the first e and the final c. Anotherway of understanding the rhythm (first and third measures asaccented) must be rejected as being artificial. A plain four-part writing appears thus:. The three-part writing:textbookofsimple00riem
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