Editing Counterpoint (section)

==Free counterpoint==
Broadly speaking, due to the development of harmony, from the Baroque period on, most contrapuntal compositions were written in the style of free counterpoint. This means that the general focus of the composer had shifted away from how the intervals of added melodies related to a ''[[cantus firmus]]'', and more toward how they related to each other.{{Citation needed|date=August 2018}}<ref>{{Cite web |last=Kornfeld |first=Jono |title=Free Counterpoint, Two Parts |url=http://www.jkornfeld.net/free.pdf |access-date=6 February 2023}}</ref>

Nonetheless, according to [[Kent Kennan]]: "....actual teaching in that fashion (free counterpoint) did not become widespread until the late nineteenth century."<ref>{{cite book|last1=Kennan|first1=Kent|author-link=Kent Kennan|title=Counterpoint|year=1999|publisher=Prentice-Hall|location=Upper Saddle River, New Jersey|isbn=0-13-080746-X|pages=4|edition=fourth}}</ref> Young composers of the eighteenth and nineteenth centuries, such as [[Mozart]], [[Beethoven]], and [[Robert Schumann|Schumann]], were still educated in the style of "strict" counterpoint, but in practice, they would look for ways to expand on the traditional concepts of the subject.{{Citation needed|date=August 2018}}

Main features of free counterpoint:
# All forbidden chords, such as second-inversion, seventh, ninth etc., can be used freely as long as they resolve to a consonant triad
# Chromaticism is allowed
# The restrictions about rhythmic-placement of dissonance are removed. It is possible to use passing tones on the accented beat
# Appoggiatura is available: dissonance tones can be approached by leaps.