J.'fUIUC; _

D. Analyze the chords specified by these figured basses and add inner voices to make a~four-part texture. Bracket all circle-of-fifths progressions, even those that contain onlytwo chords. Before beginning, review the part writing for deceptive progressions.

~ loI H I J J I I I I I I

0

,I..I I I I 1 I

1

21\ I I I I I

.@) • -

...,... -.. .I I I

3~ I I I

0 • .•..•.

-..I I I I

Student Workbook Chapter 7 57

E. Analyze this figured bass, then add a good soprano line and inner voices. Bracket allcircle-of-fifths progressions.

"\

I1.

l -Y-•.I I I I I r I

F. Add an alto part (only) to mm. I and 2. Then compose a good soprano line for mm.3 and 4 and fill in an alto part.

'" I I I I I

'"'n;: rToj

I I I

-Y-•.I I ~

F: v vi IV V vi ii V V

G. Following are two unfigured bass lines. Using triads in root position and first inversiononly, show a good harmonization of each one by placing roman numerals beneath thebass line. Be sure to refer to the diagrams on p. 113 while you work on yourharmonizations.

1

2

58 Tonal Harmony

Name Class Date _

H. Harmonize the following melodies by using root-position major or minor (not dimin-ished) triads in an acceptable progression. Try to give the bass a good contour whileavoiding parallel and direct 5ths and 8ves with the melody. Be sure to include analysis.Finally, add one or two inner parts to make a version for SAB three-part chorus orSATB four-part chorus, as indicated.

1 SATBf u I I I I I .~

....G:

f u J I I I I I I I

~

....

2 SAB

D:orb:

3 SATBI I I

4

..

4 SATB'" U ~ I I

U ~

.• IL..E:

Student Workbook Chapter 7 59