Monarcheon, in the audio I included you can hear where the fermatas are because they're longer but I didn't have them marked on the score. The parallel 5ths in the 3rd beat of measure 4 were a mistake I had added because the fermata break there made me not realize it. I'll show the new score and version now. Keep in mind the part I added is harmonically weirder in measure 12 and definitely not appropriate for a Bach thing, but my assignment is just very basic without any stylistic constraints beyond basic part writing rules. I would like your commentary on that addition because it is a prolongation I made up leading into an augmented 6th (german to french) chord. Measure 9 and 13 are my real issues. I changed around the parts. What is a cross beat voice?
Luis, that is measure 6, not measure 10. What I did there is probably not at all baroque technique of any sort but the doubled leading tone is kind of taken care of by how the bass runs up to the 4th above it. The measure 11 one I like because it is a neapolitan 6th chord with a sus 4, which in that context is a sharp 4 (c# down to b). That one is definitely not characteristic of anything I've heard, yet it is a prepared suspension. In the end I extended a plagal cadence with a secondary dimished chord. You can hear in the Well Tempered Clavier for instance major keyed pieces that end with that flat 6th before the final tonic. I think it makes for a nice falling sigh kind of effect. Again, for all of this, it is not a Bach chorale, nor is it a 20th century pedagogical reduction of a Bach chorale style, I just wanted to go with the flow and still follow the big rules and keep it coherent in its own idiom.
Thank you all for your comments
