Use the piano to help yourself accomplish this assignment!
Figure out what ii is in D. Then find the leading tone to that note. Then build a stack of minor thirds to make a diminished seventh chord. This should give you two notes in common with the previous (I) chord, the root has to be in the bass, and the fourth note is then obvious. Be sure when you progress to the next (ii) chord that you resolve properly: the (applied) leading tone must go up and the seventh must go down.
To get from the diminished seventh chord to the ii chord, the chord roots move by __?__, so the upper voices must move __?__. Also, for the diminished seventh chord to resolve properly, its leading tone must go up and its seventh must go down. To get from the ii to the V7, you can keep two common tones from the ii chord, the root has to be in the bass, and the fourth note is then obvious.
To get from V7 to I, is your leading tone in an inner voice, and is its normal note of resolution in the I chord fulfilled by a different voice? If so, you could drop the leading tone down to provide the fifth of the I chord. The progression from I to vi is root movement by a __?__, so there should be __?__ common tones.
To find the V65/V chord, first determine what is the root of the V chord. To find V/V, go up a fifth from V. Now build a dominant seventh chord on that note. The third has to be in the bass, and there are two common tones from the previous chord, so the fourth note is obvious. To go from V65/V to the V chord, the root movement is by __?__, so keep the common tone and move the others __?__. The seventh of the V7 chord could just be a passing tone between A and the F# in the I chord.
To get from V7 to I, if your leading tone is in an inner voice, and its normal note of resolution in the I chord fulfilled by a different voice, then you could drop the leading tone down to provide the fifth of the I chord. If you've followed the above hints correctly, your soprano melody should go A A G G F# F# E E D.
To go from i to V65 and back, root movement is by the interval of __?__, so keep the common tone and move the others __?__.
Likewise, going from i to iv, the root movement is by the interval of __?__, so move the bass from root to root, keep the common tone, and move the others __?__. To find the V65/III chord, first determine what is the root of the III chord. Then go up a fifth from III. Now build a dominant sevent chord on that note. The third has to be in the bass, and there are two common tones from the previous chord, so the fourth note is obvious. To go from V65/III to the V2/VI is still reasonable because the root movement is by __?__. So that means that you should keep the common tone and move the other voices __?__. However, this pair of chords forms a (very short) chain of secondary V7 chords. You may recall that when that happens, the applied leading tone, instead of rising, moves to the seventh of the next applied V7 chord. That rule is consistent with the indicated bass line. In this assignment, that is the ONLY exception you will find to the basic rule of: "the (applied) leading tone must go up and the seventh must go down."
To go from V2/VI to VI6, follow that rule, keep the common tone, and the fourth note is pretty obvious. To shift from VI6 to VI, simply keep the inner voices the same and move the outer voices. (Or do whatever you have to do to get a well-formed chord of two roots, a third, and a fifth. To find V43/iv, find iv in e, then find the note a fifth above iv ad build a V7 chord on that root. Since the inversion is 43, the __?__ of the chord must be in the bass. Keep the common tone and move the other two to the obvious places.
To go from V43/iv to iv, simply resolve the applied leading tone and the seventh properly, keep the common tone, and move the bass to the proper place. In the i64 chord, you always double the __?__. So if you try to keep a common tone, and avoid parallel octaves, you should find the right solution. When going from i64 to V, the notes that are a 6th and a 4th above the bass in the i64 chord reslove to the notes a __?__ and a __?__ above the bass in the V chord.
To go from V to i, root movement is by __?__. Which rule of voice leading applies to this situation? (Note that the leading tone should resolve properly.)
The raised note (E natural) functions as a leading tone to the note __?__. So the root of the chord is probably either __?__ (for an applied diminished 7 chord) or __?__ (for an applied dominant chord).
Although the applied leading tone E natural from the previous chord resolves correctly to an F in this chord, the root of this chord is not F. So it is a __?__ resolution of the previous chord. The B natural in this chord indicates that we're going to __?__.
Not every note of the chord is present in this measure, but you should be able to make a logical guess for this chord.
Note how the contour of this melody is the same as a previous measure, measure __?__. That may help you determine the chord.
There's that B natural again. what does the presence of both A natural and B natural indicate to you? Is that consistent with the type of chord being outlined here? Do you think a modulation may be occurring (or may have already occurred)?
This chord is the logical resolution of the chord that came before it.
See the hints for measure 16.
Look at the chord roots of mm. 16-19. Now backtrack and find a likely candidate for a pivot chord earlier in the exercise. But also, look ahead to the last two measures of the piece. Does it end in the original tonic key? If so, and if you have modulated away from that key, you'll obviously have to be modulating back about now. What's a likely pivot chord?
You might want to analyze the last two measures before you try to analyze this measure. This measure will then be a very sensible predecessor to measure 21. (Note also that its contour is identical to that of measure __?__.)
The contour of this measure is identical to that of measure __?__. This chord is the logical penultimate chord and fits well between the chords that surround it.
Oh, c'mon, you don't really need a hint for this measure, do you?