far as separate melodies being combined is concerned.
Let us play the voice-parts separately. We shall find equal melodic
interest in each. The chords grow out of the music. Comparing this
with the choral, the main difference between harmony and counterpoint
should be clear to us. We shall observe that the three voices do _not_
proceed in the same way. If one part moves quickly, as in the bass of
the first two measures, the other parts are quieter; if the bass
ceases to move rapidly some other voice will take up the motion, as we
see in the third and following measures. As a general thing no two
voices in contrapuntal writing move in the same way, each voice-part
being contrasted with different note-values. This gives greater
interest and makes each voice stand forth independently.

At first contrapuntal music may not seem interesting to us. If that is
so, it is because we are not in the least degree conscious of the
wonderful interest which has been put into every part. The truth is,
that in the beginning we cannot fully understand the thought that has
been put into the music, but by perseverance it will come to us little
by little. This is what makes great music lasting. It is so deftly
made, yet so delicately, that we have to go patiently in search of it.
We must remember that gems have to be cut and polished from a bit of
rock.

In this case the gem is the rich mind-picture which comes to us if we
faithfully seek the under-thought. And the seeking is polishing the
gem.

Music written entirely by the rules of counterpoint is called
contrapuntal music; that written otherwise is known as free harmonic
music. In the one case the composer desired to have a beautiful
weaving of the parts--clear as the lines in a line-engraving. In the
other, the intention is to get effects from tones united into chords,
such as is obtained from masses of color in a painting. Neither form
may be said to be the superior of the other. Each is valuable in its
place, and each has possibilities peculiarly its own, which the other
could not give. Pure counterpoint could not give us such a charming
effect as Chopin obtains in the first study of Opus 10; nor could the
plainer and more free harmonic style give us such delicate bits of
tracery as Bach has in his fugues.

If now you will take the trouble to learn two long words, later in
your study of music they will be of use to you. The first is
Polyphonic; the other is Monophonic. Both, like