Renaissance Pieces

" It's a very refreshing ayre, i sometimes render pieces by Dowland, Bull, & Byrd for harpsichord but originally not for & they turn out great enough to play. Your work is genuine & classique, i also love renaissance musica when these kompozers were challenging the musical doctrine slightly with new yet strange colors. "

Other than the horrible thirdless sound in measure (26), I really enjoyed this.

Some things I'm not sure about:

• Random C in the very first bar which stays there, and doesn't resolve like a suspension, when the next harmony kicks in.
• Direct 8ves on the final beat of the first bar
• No third in IV7 in the third bar
• I don't' get the odd 8ve leap in 9
• No third in 12-13
• Not sure why there's no fifth in 24, but maybe you wanted to be really specific with the alto
• As I said before, the missing third in 26 stuck out a lot, to me
• Missing third in the next bar?
• Missing third in 30
• Latter half of 43?
• 54 is like 1

I don't know stuff about this specific era, so some or all of these might be stylistic things or something; but I thought I'd just point out what I saw for at least one of our benefits.

Thank you both!

Omitting the fifth or more rarely the third or doubling any of them isn't wrong and I tend to do that in order to have a better countepoint. If harmony rules are not violated and each voice has an interesting line then the counterpoint of a piece will sound good. I am bound to have missed some parallel 5ths or 8ves, but I will revise the piece and perhaps expand it when I am in the mood of working it again. The octave leap is a bit awkward but I treated the last beat of mm. 8 the same way as between phrases in chorals. It would certainly be better if the first F on the bass was an octave higher because it is generally wrong for the voice to jump in the same direction. Contrary motion is always advised.

I just added a new one.