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 !
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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: