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I've been studying 16 century counterpoint through a book myself.

I just got into 3 voice 3 species and its a little confusing.

This is a part of a 16 centrury counterpoint practice I did.

I'll like some feedback and pointers on anything "wrong" if I've broken any rules.

Thank you.

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    Hm, second measure is not optimal. You have the bass starting on c in the first measure and on d on the second measure. This will have up to a bit of diminuition the effect of soprano and bass going in parallel octaves.
    – Lazy
    Commented Mar 12, 2022 at 9:10
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    Curious - can you please provide a translation into English of what you wrote in Korean in Bar 2?
    – Dekkadeci
    Commented Mar 12, 2022 at 16:18
  • Also, in second measure depending on how closely you're following 16th century style, leaping up from the strong beat is best avoided
    – nuggethead
    Commented Mar 13, 2022 at 0:37

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As @nuggethead pointed out you have somewhat parallel motion between the first notes in the bass and soprano. A slight improvement would be to change the soprano to A in the second measure.

  1. It gives a full triad.
  2. It changes the perceived parallel motion to contrary motion.

In an exercise this short, you really want to avoid repeated harmonies. Measure 1 is primarily C major and so is measure 3. Consider changing the soprano, which is repeating the note from measure one to another note, and another harmony. G major, A minor, F major or even Bb major (assuming mixolydian mode) would all break up the monotony.

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