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You are right those are somes of the "rules" of four-part writing. But normally those rules are just the result of a specific voice movement that consist on moving internal voices as little as possible while avoiding paralell 8th and 5ths. In four-part writing you would not normally have the same C note in the bass for 3 measures or jump around with the internal voices so much. In my opinion, you can jump directly to learning four-part writing without counterpoint. That said, it is probably better to do both at the same time: four-part writing and counterpoint. The "practical manual for harmony" by Korsakov teaches, step by step, exactly what you are trying to do. I think it is really useful for learning four-part writing. But I am sure there are other good books for learning four-part writing. For counterpoint, I used the Kent Kennan book that @PeterthePapercomPoser recommended and it was really useful. I think, even just learning two voice counterpoint, will help you a lot understand harmony much better!

Revision of an old exercise of mine composed on a given subject while experimenting in counterpoint in more than four parts.

Hi @olivercomposer, In b.4, apart from the tritone move of the alto, the alto and tenor are more than octave apart, which is considered a violation of 4 part writing rules since it creates imbalance of register. I think this is absolutely fine to have the leading tone goes to fifth when the soprano covers, since Bach always does this in his chorale for the fullness of the last chord! Henry

Hi @Alex Weidmann! I really like the concept of the piece! The peaceful vibe at the beginning and how it slowly develops and flourishes is very interesting. There's also some surprising lines and chromaticism that keep things interesting. I don't think that that will be as difficult as it sounds. You really only need to bring the tempo up from 40 to 55. Since 55 is half of 110 it will still sound smooth and this will basically just be a metric modulation. All you'll have to do is to make the transition smooth in orchestration, harmony, melody and any of the other elements of the music (not to understate the challenge that this might still pose for you - but you have my vote of confidence!) I went on a bit of a rabbit-hole search through the internet looking for drums that can do a gliss when I finally found this video: (How to do a Moose Call on Conga Drums) - Glissando Lesson I wonder if that is the sound that is being synthesized here? Thanks for sharing!

Sure thing, I’ll send you the PDF score by private message, plus thanks for your compliment(:

I’m glad to hear you’re making progress and having new ideas to improve your arrangement. Gives me enthusiasm to hear it:D And agreed, free equals good in my book(: ~Frank