I.Part-Writing
II.Harmonization
III. Species Counterpoint
IV. Analysis
V. Rhythmic Types
VI. Suspensions
Add inner voices to this bass and soprano, following the rules of good partwriting. Analyze RN, cadence(s), and label each 64 chord type.
Listen to the outer voices here.
Click the example for two
possible solutions.
Harmonize the following melody with appropriate chords. Include at least one linear dominant, one predominant, a iii or vi chord, and an embellishing 64 chords, and end with a PAC. Listen to the tune here.
Click the example for one solution.
Add a first species counterpoint to the following cantus firmus.
Click the example for one solution.
Analyze the following excerpts with roman numerals, inversions and cadences. Label any dissonant melodic embellishments, and all 64 chord types. Click each example for the solution.
1. Listen to this excerpt from Mozart, Piano Sonata K. 280, ii here.
2. Listen to this excerpt from Mozart, K. 311, I here.
Label the most prominent rhythmic/metric feature of each example. Click on each example for one solution.
1.
2.
Rewrite each of the given 4-part examples to include one suspension. Click on the examples for one solution.
Amy Bauer, 2015
