 Schenker thus views the rules of strict counterpoint as basic structures underlying the complex voice-leading patterns of free composition, and not necessarily as models to be literally imitated on the actual musical surface.Throughout "Counterpoint", Schenker cites examples from the musical literature to demonstrate the highly varied ways in which the principles of strict counterpoint can be applied in free composition.As in his other works, Schenker is highly critical in "Counterpoint" of many of his theoretical predecessors, and of pedagogical methods then (and still) prevalent.