## Exercises26.13Practice Exercises

Day One

###### 1.

For bass movement of a 3rd or 6th, in the upper voices hold two common tones and move the other voice by step. For bass movement of a 2nd, move the upper voices in contrary motion to the bass with the exception of the deceptive progression, which has special rules. Keep track of doubling by specifying which voice has the root, third, or fifth for each chord.

###### 2.

For bass movement of a 4th, either (1) hold one common tone and move the two voices by step, or (2) move the upper voices in the same direction. Keep track of doubling by specifying which voice has the root, third, or fifth for each chord.

Day Two

###### 3.

Given the bass line and figured bass symbols, analyze the Roman numerals below the staff and add soprano, alto, and tenor parts in “chorale-style,” following rules of good voice leading. Choose the beginning register for each upper part carefully, considering the number of times the bass moves by the interval of a 2nd.

###### 4.

Given the bass line, analyze the Roman numerals below the staff and add soprano, alto, and tenor parts in “keyboard-style” (all three upper voices in the treble clef), following rules of good voice leading. Choose the beginning register for each upper part carefully, considering the direction of the bass line.

Day Three

###### 5.

Analyze the Roman numerals in the blanks below the staff and the doublings of the chords in the squares—specifying Root, 3rd, or 5th—for J.S. Bach's Chorale 367, Befiehl du deine Wege.

###### 6.

Given the bass line and figured bass symbols, analyze the Roman numerals and add soprano, alto, and tenor parts in chorale style. Review the special rule for doubling in diminished triads in first inversion. You may wish to review figured bass with chromatic alterations.

###### 7.

Harmonize the melody making sure your progression follows the Harmonic Flowchart (analyze the harmonic function of each chord, abbreviated as “HF”), then add alto, tenor, and bass parts in chorale style following rules of good voice leading. Use first-inversion chords to make a smoother bass line.

Day Four

###### 8.

Analyze the figured bass symbols to specify Roman numerals with inversion symbols below the staff. Add soprano, alto, and tenor parts in keyboard style. Specify root, third, and fifth for every chord. Additionally, specify the six-four chord type (pedal, passing, or cadential).

###### 9.

For the given Roman numeral progression, provide soprano, alto, tenor, and bass voices in chorale style. Be careful not to exceed any voice’s range. Specify root, third, and fifth for every chord. Additionally, specify the six-four chord type.

PDF versions of the textbook, homework exercises, and practice exercises can be found at musictheory.pugetsound.edu