Oh yes, it is happening this quickly.
I was surprised, in reading the Fux, at how permissive it seems. I am used to a LOT more in the way of guidelines. Fux is very lean; define the consonances, define the four types of motion and what intervals can and can’t be approached by which motions and you are off to the races.
I’m sure things will get more strict when he discusses melody writing. The Salzer/Schachter is a lot more strict about peak notes, not repeating pitches, and leaping as little as humanly possible. Fux makes it easy to write a counterpoint for starters but then infinitely tweakable as you take in different considerations of an artistic nature.
1:1 Above Cantus
What I like: For my first time doing species work in a while, this came together pretty quickly. I like the early peak on F and the stepwise descent therefrom.
What I don’t like: There is a lot of C natural in this, which I could probably fix. I’m still a little gun shy from using a lot of leaps. This might be better by leaping down to an A in measure 2. I’m not too crazy about the 5th in measure 2, anyway. Leaping to an A would give more shape to the counterpoint. Let’s pretend I did that instead.
1:1 Below Cantus
What I like: I like the overall shape, the steady ascent from D to D.
What I don’t like: Don’t like all the 10-6 motion, I think it gets stale. I also don’t like Fux’s idea of avoiding the battuta which essentially prohibits 10-8 motion (even though 6-8 is fine). Measure 2-3 and 7-8 were originally going to octaves but I corrected those to 6ths to avoid battuta. This solution certainly helped my overcome a fear of excessive leaps. I’m not a fan of the successive 4th leaps in mm. 5-6 and 7-8. Those leaps, combined with all the 10-6 motion, make this counterpoint seem too motivic and less melodic.