Gah. There are too many configurations here. Some of these are better than others, I’m not going to bore you with a detailed slog through the rights and wrongs. Consider this a public “working out” in a contrapuntal way.
2:1:CF (2:1 in the soprano, 1:1 in the middle, CF in the bass)
Assessment: This one is probably my most technically correct. Yeah, there are times when all voices move in similar motion. It is rather hard to not have the 2:1 voice not in parallel thirds over the CF.
1:2:CF (1:1 in soprano, 2:1 in middle, CF in bass)
Assessment: This one just sucks. bland monotonous line in the middle, cramped and stunted. Moving on…
2:CF:1 (2:1 in soprano, CF in middle, 1:1 in bass)
Assessment: I’m easing up on myself a little, tapping into the Gradus ad Parnassum flexibility. I remember how liberating Gradus was in comparison to this book. Fux was a composer while Salzer and Schachter were theorists (I don’t know that either composed). I find some of S&S suggestions a bit too restrictive at times.
Assessment: Too many repeated notes in the soprano. Very leap-tastic bass line but in a good way.
Assessment: Open structure FTW! By not worrying about weak-beat doublings so much I was able to write an actual line.
Assessment: Yes I arpeggiate a triad without compensating. I was arriving at the peak and needed to keep going. I think this is my best line so far even though there are doubtless technical errors.