So many pupils have acknowledged to me the advantages that have accrued to them from having understood and practised the application of Strict Counterpoint in composition in the strict style, that it seemed to me a short treatise on the subject might be serviceable. Very few teachers encourage the study of Strict Counterpoint in anything but its purely technical and analytical aspects. It is certain that very few students understand the function of the semibreve Canto F ermo. Still fewer realize that it can be eliminated, and that the application of the technique of Strict Counterpoint without this constant factor results in composition in the style of the Polyphonic Period.