He paid much less attention to rigid canonic style than his predecessors had done because it was not suited to the kind of music which he felt was fitting for his church.

He sought for grand, broad mass effects, which he learned could be obtained only by the employment of frequent passages in chords.

So he began trying to write his counterpoint in such a way that the voice parts should often come together in successions of chords.

In order to do this he was compelled to adopt the kind of formations still in use and the fundamental chord relations of modern music--the tonic, dominant and subdominant."[30] [Footnote 30: From the present author's "How Music Developed." New York, 1898.] In music of this kind there was no longer a field for the intricate working of canonically constructed voice parts.

It must seek its chief results in the opposition of one choir against the other, not in multiplicity of voice parts, but in imposing contrasts as of "deep answering unto deep." The development of fundamental chord harmonies was inevitable and from them in the fullness of time was bound to spring the pure harmonic style.