The exercise was to make the tenor alto soprano for the bass note given.

is there any rules I violated ?

any feedbacks will be welcome thanks !

enter image description here

  • Was the figured bass (i.e., the inversion for each chord) given as well?
    – Richard
    Aug 27, 2018 at 3:11
  • @Richard Yes ! it was ! Aug 27, 2018 at 3:12
  • 1
    Alright, the first example was one thing, but we don’t review homework here. Aug 27, 2018 at 3:12
  • @jjmusicnotes oh I see..sorry about that. I just had no where to ask about this stuff, should I take this down ?? Aug 27, 2018 at 3:14

1 Answer 1


The only definite error is in m. 3, when the soprano and bass both move from F to G, creating parallel perfect octaves. You'll likely want to move the soprano's G down to D; this will also create a complete V triad right here, in contrast to the incomplete triad you had earlier. (Although the incomplete triad—that is, without the chordal fifth—was completely correct.)

In fact, that's really the only pitch you'd need to change, because scale-degree 2 jumping up to 5 while the chords move from V to I6 is a very common progression. Many call this an "evaded cadence."

My only other compositional comment would be that the soprano and alto are in octaves three times throughout the example, with one instance lasting a full measure. You could add in some variety there, but by no means is it wrong.

Lastly, one notational suggestion: since this is a four-part chorale, we want to make it clear that these are four separate voice. The way that we do this is by writing the soprano and tenor with upward stems and alto and bass with downward stems, like so:

enter image description here

  • Thanks for your reply ! "in m. 4, when the soprano and bass both move from F to G " I don't think there is a F note in m. 4, and also there is no G note on the bass too..so I don't quite get what you were saying here.. Aug 28, 2018 at 2:31
  • @HyunYooPark Oh, I'm so sorry. I meant m. 3!
    – Richard
    Aug 28, 2018 at 3:04
  • In m.3 I thought if you move by a step it wouldn't be parallel movement but I guess that rule is only applied in "hidden octaves" ? Aug 28, 2018 at 14:16
  • @HyunYooPark Hidden octaves only apply when voices move in similar motion (that is, in the same direction but by a different interval). But the error here arises because the voices move in parallel motion (same distance and same interval). Whereas you can "fix" hidden octaves by moving a step in the soprano, parallel perfect intervals are never allowed in this style.
    – Richard
    Aug 28, 2018 at 16:03

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