Section IIA: Free Response: Written
Overview
The written free-response section asks you to complete tasks such as harmonizing a melody, realizing a figured bass, part-writing, and analyzing a short passage. You must demonstrate voice-leading rules, harmonic logic, and stylistic consistency.
Key Concepts
- Figured bass realization: Interpret figures (e.g., 6, 6/4, 7, 6/5) and supply upper voices.
- Part-writing rules: Avoid parallel fifths and octaves, resolve tendency tones (leading tone up, chordal seventh down), and keep voices within ranges.
- Harmonic progression: Use common functional progressions (I–IV–V–I, I–vi–IV–V) and cadences appropriately.
- Melodic harmonization: Choose chords that fit the melody notes, favor root-position chords at cadences, and use inversions for smooth bass.
- Analysis: Provide Roman numerals and figured bass for given chords.
Traps
- Parallel perfect intervals: Consecutive fifths or octaves between any two voices are forbidden in strict style.
- Unresolved tendency tones: The leading tone must resolve up to tonic; the chordal seventh must resolve down by step.
- Overlapping or crossing voices: Keep soprano > alto > tenor > bass.
- Spacing: Upper voices should be within an octave of each other; bass can be farther.
- Doubling: In triads, double the root; in seventh chords, the root is often omitted or doubled depending on context.
Worked Example
Harmonize the melody G–F–E–D in C major. Possible chords: G (V), F (IV or V7), E (I or vi), D (V or ii). A strong progression: I (G as fifth) – V7 (F as seventh) – I (E as third) – V (D as root). Ensure the leading tone B resolves to C. Rule of thumb: at cadences, use V–I with root position and resolve leading tone up.
Rule of Thumb
Write the bass line first, then fill in inner voices, checking for parallel perfect intervals and tendency-tone resolutions.