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