Part Writing

Voice

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Settings

Exercise Warm-up: figured bass + soprano given — write alto & tenor
AP Q5: figured bass — write soprano, alto & tenor
AP Q6: Roman numerals given — write all four voices

Harmonic analysis Answer bank (buttons) Type it

Saved separately for each mode. Defaults: bank for the warm-up, typing for Q5.

Keys Major Minor Both
Key signatures up to

Length and meter Chords Meter

Chords that can appear (I and V are always on)

Root motion

By step (2nd)

Most step progressions per exercise

By 3rd

Same choices apply in minor (i–ii°, iv–V, VI–V…). Motion by 4th/5th is always on. Chords with vii°, secondary dominants and the deceptive cadence are not limited by these.

Cadences (the final two chords) Perfect authentic (V–I, tonic in soprano)
Imperfect authentic (V–I, soprano does not end on tonic and/or either chord is in inversion)
Half (ends on V) Deceptive (V–vi)

If none is checked, exercises end with a perfect authentic cadence.

Inversions and 6/4 chords First inversions (needed for vii°6 and minor ii°6)
Cadential 6/4 Passing 6/4 (I–V⁶₄–I⁶, needs first inversions)

Seventh chords (inversions follow the first-inversion setting) V7 ii7 / iiø7 viiø7 / vii°7

Secondary dominants On

V/IV in major appears only as V7/IV, so it needs V7 turned on.

Embellishments (figured-bass modes only) 4–3 suspension at the cadence
8–7 over V at the cadence

Options Give the first chord (AP style)