Excerpt from Counterpoint Simplified
The author of the present little treatise does not lay claim to the discovery of any new principles in Counterpoint. In the nature of the case there can be none. All he hopes to have done is to have put the old well-known principles of Strict Counterpoint in as convenient and as concise a form as possible.
All reference to the C-clef has been intentionally omitted; while not denying the value of its use nor unduly exaggerating the difficulty of learning it, the author is convinced that more students will secure a general knowledge of Counterpoint and that those who commence its study will go farther without the use of the C-clef than with it. The present treatise is intended for the average student of music who feels that he ought to know in a practical way what is meant by Counterpoint, and be able to think music along the lines of voice progression rather than harmonic progression, and at least partially to understand the principles of composition that underlie the works of the great masters of polyphonic writing. For such students detail is worse than useless.
The author is well aware that many of the progressions forbidden in the chapters on Strict Counterpoint are allowable under certain circumstances. The line of demarkation between Strict Counterpoint and Free or Modern Counterpoint is not well defined. In speaking of Strict Counterpoint it has been thought best in case of doubt to lean rather toward the strictest usage than to allow so-called licenses to creep in. Such licenses, however good in themselves, belong rather to Composers' Counterpoint, and if mentioned in a school text-book, tend to confuse the mind of the student.
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