If someone would be willing to point out errors I'm making with this species, before I continue on to the others, I'd be grateful
I'm not sure how cadences work in this species; if someone could explain them, I'd be grateful
If someone would be willing to point out errors I'm making with this species, before I continue on to the others, I'd be grateful
I'm not sure how cadences work in this species; if someone could explain them, I'd be grateful
What I notice isn't really an error, but a picky detail, and if you want to study species counterpoint, I think the point (bad pun) is to be picky about details.
At bar 5 you start using the ligature, tied note or dissonant anticipation, and that is really fourth species.
If you look at Fux's example of second species, two or three parts, that kind of dissonant anticipation is not used. In second species the dissonant tone must resolve by a step. That sets up the ligature as a different species.
Mixing species like this comes up in the section about "florid" counterpoint.
The gradual and categorical structure of species counterpoint make the process especially about discipline. The reason to stay strictly in one species or another is to show you can control your various musical elements. It's not a time to "get creative."