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YES, why not! Thank you for sharing, this was a very nice performance :nod:

Oh ok it seems we agree then! I thought you were just advocating "playing it by ear" which is obviously the ultimate goal but no way to start out. Personally, I write atonal music so I'm all for throwing the rules away! I just believe that first you have to learn the rules to earn the right to disregard them. For me,the fact that it is in a modal context, while possibly confusing, is one of its advantages because it forces you to drop all of your harmonic "baggage" and focus purely on the counterpoint. I also think that working through it in a modal context where you're concerned purely with intervals gives an insight into how tonality developed and really helps you to understand the "nuts and bolts" of standard harmonic progressions. I think it's worth persevering with through any confusion but the most important thing is being able to understand the information and if Kennan's book allows someone to do that then fair enough, use that instead.

I should say the truth... by accident! :blush: I'm an not much of a composer, but I'm really into ballet :) and during a holiday I was looking for new music suitable for a coreography. I think I clicked on the wrong link, but I ended up here, and out of curiosity I picked a random piece to listen. I loved it :wub: (it was a waltz by Austenite but can't remember its title right now) - but it was very much like what I was looking for... That got me interested in music by other members as well, so I kept coming back to the site and discovered very good pieces, as well as polls and competitions :D . I'm rather shy and don't usually post on the forums, but I keep coming back time and again, and each time I find new lovely pieces. So I'm now stuck here :unsure: ...

I don't understand how a 20th century book on 18th century counterpoint by Kent Kennan can be any more reliable than a book on 18th century counterpoint that was written in the 18th century. If anything, you shouldn't use Kent Kennan's book because it is anachronistic. Of course pieces now don't follow strict counterpoint but a lot of the voice leading principles that are learned through studying strict counterpoint are fundamental to all styles of composition so don't just "throw in some parallel 5ths", learn why you should or shouldn't throw in some parallel 5ths first then you can make an informed decision.