Short Renaissance-y piece

This is my first attempt at something in a different style/time period as I usually write in wish me luck before you listen.

Also I chose the Saxophone for the 'bass' because I couldn't think of any other instrument that had a wide range and the annoying sound of the renaissance (Besides the harpsichord)

There's some nicely fluid writing here, but also a fair amount of writing that feels a little off to me. Here's a few select thoughts on the harmony! 

The first 6 bars have a nice overall impression, but bar 8 onwards starts feeling kind of chaotic, in a way that doesn't feel in character with the piece. A specific example would be the F#-G dissonance on the 3rd beat of bar 8, which sounds a little weird. I'm also not sure what chords you're trying to portray in any part of bar 8 at all, which is probably mostly due to the bass, which moves in kind of jerky and unnatural ways. A Renaissance piece would be much clearer in its chord progression.

Bar 9 as well has issues in the relationship between the middle and bass lines. The first two beats are basically parallel 4ths, and although you've disguised that fact, the problem is that parallel 4ths in the absence of other lines outline no chords at all. Lines which might be keeping more in line with Renaissance-style writing, while keeping the same rhythm, might go G-A-B-A-G-F# in the middle line, and D-C#-D in the bass. This would clearly outline a chord on each beat, and two lines moving in contrary motion are generally more interesting and musical than two lines moving in parallel. 

You've also got parallel 5ths in bar 14. The 'no parallel 4ths, 5ths, or octaves' rule isn't just to be arbitrarily picky, it actually sounds less musical in this case when set against the fast moving middle line. An alternative would have the top line go to a C# for the second minum beat, and then go D and E. Then you've got parallel 3rds, which are much nicer.

The only way (for me) for the C#-G tritone in bar 15 to work would be to have the middle line resting on an A. C#-D-G sounds extremely harsh and dissonant even for a modern style. C#-A-G is much nicer than C#-anything else-G in this context; even the next best thing, C#-E-G, might be a bit too dissonant for this style, although it could work depending on how you resolve it. Speaking of which, in this style, augmented 4ths resolve outwards and dimished 5ths (which is what you have) resolve inwards - basically because sharps generally resolve up and flats generally resolve down. So, this should resolve to D-F# in the bass/treble, and the middle line has some freedom as to where it can go.

The ending of the piece sounds out of place, maybe because the piece seems to lack an overall structure to my ears. Clearer chords, and more points of rest/stability, would help.
 

I could definitely do some more in-depth harmonic analysis on parts of this piece if you'd like, though it'd take some time, and having a score in C would probably help with that.

As I was writing that there was a little voice in my head saying to me 'well let's see you try then'. I really do like your opening and it inspired me to see if I could whip up a little something in 20 minutes, in this style, that I found interesting. I'm not particularly knowledgeable on specifically Renaissance music, but I'm aware of the 'rules' of harmony that everyone gets taught when you learn music theory, and I wanted to see what I could do if I really kept the rules in mind (even though I probably wasn't always entirely successful in doing that). So I have no idea if this is actually really in the proper style or not. But I like how it sounds. Listening back to it now the only bar I don't entirely like is bar 6 - I'm sure there's a better solution than the octave between the flute and clarinet. But that's the fun of composition, and it's probably why it was thought of as a craft - you're setting yourself a problem (eg 'I want to repeat the same idea, but down a tone, while staying in the same key) and then seeing what kind of solution you can come up with.