Subterfuge in F minor - Two part counterpoint

Hello, I have composed this piece and would like some feedback on my writing.

https://youtu.be/l9lZo2tQJfY

I have posted it online elsewhere and received the criticism of it lacking in voice independence, like the lines are missing the cantabile quality of counterpoint. Please listen with this in mind if possible, any comments about it are welcome as well as tips on how I can improve this.

Thanks for your attention.

I personally don't think this lacks voice independence.  I think some of your harmonic changes can be quite jarring on first listen (but after listening a few times I've gotten used to them and have actually grown to quite like this little invention!)  The most problematic measure however, at least to my ear is 16 - beats 3 and especially 4,  Since the harmony there is a diminished chord it's understandable if you mix flats and sharps but I don't understand why you have the Ab on beat 4 in the right hand - seems like it should have been a G which would then naturally be followed by an F# which you already established in that measure.  As is there is a wrong-sounding cross relation between the Ab/Gb and the G you have in the left hand.  The figure F#, A, G, F# sounds much more pleasing/natural to my ear even with an Eb in the left hand since it's part of the octatonic half/whole scale.  Thanks for sharing!

Hey thank you very much for your thouthful comment, I just reviewed what you said about measure 16 and what you said totally makes sense. I am trying something quite new to me in this piece with these diminished harmonies I still don't totally get how to lead and resolve their counterpoints. Like you said there is a lot of sharp/flat mixing it gets really confusing and I end up just botching it up xD

It's weird about the voice leading thing, a very seemingly wise counterpoint person told me I had this problem, I am self taught and at this point that I started uploading my pieces it is vital for me to get any kind of feedback so I wanted to inquire further about this.

A point he made was about measure 3 for example: is it really bad for G to jump up to C instead of resolving to F in this context? I thought it was justified with the G - F movement already being resolved by the left hand. Also as G - C being a fourth skip is not an all that jarring of a movement is it? 

Again, thanks a lot for taking your time to listen and write about it !