Thank you for sharing! I could easily imagine this at a Mass.

I liked how the entrances of the voices were staggered as well as the imitation.

It is unusual for the final cadence to be on a first inversion chord. Have you considered having the bass on F# or A# on the penultimate pitch? Also consider that the final chord could be open like the other cadences, or even use a Picardy third - depends on what you want. Do you imagine this leading to a Gloria?

Thank you both for your kind comments.

@SuscipeMeDomine
For the final chord, I have been considering the possibilities for adjusting it. I don't think a Picardy third is what I'm looking for. F# or A# for the bass penultimate pitch would require a lot of reworking of the parts around it. One option that sounds pretty good to me is just dropping the final bass note from D down to B, but then the top and bottom parts are moving in parallel octaves, and I know that is supposed to be avoided. I'd be interested to hear any opinions on how much weight that rule should be given in this situation.

Because of minor-ness of the Kyrie, I was more imagining it used for penitential times like Lent or a Requiem Mass when we wouldn't have a Gloria anyway. But I suppose it really could be either way. I was more just composing for practice and fun, not because we have any shortage of beautiful Kyries already available.

@ServiamScores
As far as the Christe goes, I guess it was somewhat intentional. I wanted the Christe part to feel a bit slower and sweeter, a little quieter and not quite as busy. Real voices would probably bring that out better than the string recording. I like canonic form, but I felt like doing it the same way each time would be too repetitive.

@Richard Mix
I've founds the fifths and octaves, but what do you mean by (H)?

I like the ideas and affect.
Have you studied species counterpoint? Or even free counterpoint a la Tilman Merritt? Or 4-part chorale writing as in Harmony 1? Because this doesn't sound at all like Palestrina, due to the parallels and irregular dissonance treatment, such as the leap to a 4th against the bass in m. 3. Your "species 1 value" here seems to be the quarter note, so the passing note in beat 4+ of m. 1 does nothing to hide the fifths between the 1st and 2nd measures. You do show a little flexibility in your entries, but there's always a tendency in young composers to write canon instead of imitation: a subject doesn't need to be long, nor does its repetition have to be exact.

You've complained about facility. If you can find some way to do contrapuntal exercises with somebody, it will improve both that and the dissonance treatment.

Don’t get delayed or stuck by following very old excersizes in counterpoint… they will only have you copying medieval styles… “find your voice” by sitting at the piano or organ and playing out your gut. Write down your findings measure by measure. Listen to hundreds of hours of polyphonic works of Bach, buxtehude, couperin, froberger, zipoli, André, begue, commer, frescobaldi, grigny, pachelbel (Bach mimicked this guy), titelouze, Roberday, etc. avoid classical era (Beethoven, Mozart) although Haydn is good. Faure, Barber, Poulenc developed from the old math… Messiaen… avoid like the plague. Stravinsky… pure genius but beware of the modernist trappings. Debussy… incredible. After the baroque it all sprinted toward minimalism, the ultimate in musical imbecility. Glass finally emerged into humanity very late in his dev.