Four Part Harmony Advice

Hello, my friends

I'm a self-didact in music theory and I would like some feedback in this four-part exercise. The soprano and bass is given and can't be changed. Plus, all chords must be in root position.

I'm looking for unnoticed errors or better alternatives in specific points in my work.

Thank you

Looks fine to me!

The only weird thing about it is the fact that the root is not doubled in the vi 5/3 chord at the end of the first measure. However, it cannot be changed in any way without having a parallel octave between the soprano and bass or a  skip of a 4th(not recommended) in the alto, which I'm sure you're very aware of. So in this case, doubling the third of the vi 5/3 chord is completely fine and necessary.

Also, be sure to keep all Roman numerals for minor chords in lowercase to indicate that they are, in fact, minor. 

Thank you for your reply, Jared.

I've learned that when two root position chords move by step, the thirds should be doubled. A typical example is the progression V-vi or vi-V (this case). So, I took this as an usual solution.

I'm slightly bothered by that I-VI-II progression. The chord choice is good in theory, but I think it makes for some questionable voice leading. You have a parallel octave between bass and tenor that is broken up by no less than a chord on a weak beat, which shares the same function as the previous chord (a tonic function, albeit weakened), and where only one voice makes a motion. That, to me, seems too inconspicuous to justify that kind of voice leading. You can try to find another way to approach the II-chord, but I would probably just stick a IV in there, so the progression becomes I-VI-IV-II. I included my solution; feel free to criticize it as I'm also just a beginner at harmony.

edit: I end up with the same problem later on, this time between bass and alto. I believe this is the model cadence, but watch how the tenor gets all of the melody:

I've learned that when two root position chords move by step, the thirds should be doubled. A typical example is the progression V-vi or vi-V (this case). So, I took this as an usual solution.

You're citing some special cases there. Normally what happens is that the three upper voices all move contrary to the bass. V-VI is an exception because you have that leading tone as the third, which needs to resolve upward.

And I don't see how VI-V applies to this case? You go from VI to II (a subdominant function) and then to V. A direct VI-V is technically correct, but not often used because it's a weak progression that sounds modal. Regardless, if you do it, the upper voices should probably move up, contrary to the bass.

You do know how to make a standard I-IV-V-I cadence, right? Contrary motion is essential there.