1:1 Above Cantus
What I like: I like starting on the 5th. For some reason starting a 5th above is harder for me than a unison or octave. I also like the amount of stepwise motion, especially balancing stepwise motion against the leaps at the end of the CF. And sandwiching the descending F triad after the peak note in my counterpoint during the three bars between the CF’s arpeggiations is rather spiffy.
What I don’t like: Naturally I think there is too much C in this. Had I started on the octave I could have descended through D to C and cut my C usage by 25%. However, since my peak note is F I would have lessened its impact.
1:1 Below Cantus
What I like: The amount of contrary motion makes me happy. I also like the defined low and high notes. Arpeggiating the F triad against the F triad is a nice touch, too.
What I don’t like: Both voices do a lot of leaping at the same time. Even though they are both in contrary motion I feel like the end of the counterpoint becomes erratic and spastic. Leaping a fourth after a third in measures 9 – 11 is a bit of a stretch. True, leaping through triads is fine but I’m just coming off of leaping through a triad. I can’t tell if that is a good point or a bad point.
It strikes me how much more difficult it is to write linear bass lines. I want to leap a lot more when writing below the CF. I can’t tell if that is habit or just the nature of lower voices. Or if the nature of lower voices became habit. I am certainly looking forward to 2:1 exercises.