FP summary

Question 1

FP1 (3-2-1)

Answer 1

• You should be able to fit a passing 7th with 3-2-1 (if not you made a mistake, most likely doubling).
• Anticipation does not affect harmonisation (but you do need to delay the passing 7th by dotting it to avoid parallel 5ths).
• Passing note is vital part of fingerprint in Ib-V-I.
• You can add a 4-3 suspension to the V in quavers, but remember that added complexity gives more opportunity for mistakes.
• You can use iib as an approach to IC.
• With the 3-2-3 modification you will not be able to include a passing 7th.

Question 2

FP2 (2-2-1)

Answer 2

• Suspensions (7th of iib7 and the 4 of the V4-3) need preparation and resolution in the same part- after the bass line fill in these 3 notes before adding the rest of the inner parts. A useful check is that the suspended note will be the tonic note of the cadence key.
• You should be able to fit a passing 7th with 2-2-1. If not you have made a mistake (most likely doubling).
• Anticipation does not affect harmonisation (but you do need to delay the passing 7th by dotting it to avoid parallel 5ths).
• Ib and vi are both good approach chords for iib7.
• With the 2-2-3 modification you will not be able to add a passing 7th.

Question 3

FP3 (8-7-8)

Answer 3

• Suspensions (7th of iib7 and the 4 of the V4-3) need preparation and resolution in the soprano part, so if the melodic pattern is not 8-8-7-8 then you will need to use IC.
• You cannot include a passing 7th with this fingerprint without creating voice-leading problems.
  Ib and vi are both good approach chords for iib7.

Question 4

FP4 (6-7-8)

Answer 4

• viib-I is too weak a progression as a final cadence, but otherwise it should be the preferred of the two options.
• Double the 3rd in viib (the root is the leading note)
• This progression would also work in the middle of a phrase.

Question 5

FP5 (3-3-2)

Answer 5

• The quavers in the bass are a vital element of this imperfect cadence fingerprint ..
• This harmonic pattern also works for 8-8-7, but causes more voice-leading difficulties.
• This harmonic progression could also work as the approach to a perfect cadence or in the middle of a phrase.

Question 6

FP6 (4-3-2)

Answer 6

• Double the 5th in viib or you will find that you create voice-leading problems.
• You should include a suspension on viib (a 7-6) to help disguise the 5th where this feature appears on the Bach examples.
• The first of these two progressions would also work in the middle of a phrase.

Question 7

FP7 (1-2-1)

Answer 7

• The first of these is the most straightforward. If you are feeling more confident then try the one with ii7b or adding a 4-3 suspension in quavers to the chord V. If in doubt, keep it simple.
• Remember to prepare and resolve the suspended 7th in ii7b.
• The passing 7th should fit with Ib-V-I. You can also add a passing 7th in semiquavers to the ii7b-V-I fingerprint.

Question 8

FP8 (4-3-2-1)

Answer 8

• The first of these progressions works only in the major key.
• The second of these progressions can be used in major or minor keys.
• In order to avoid voice-leading problems, you have to double the f5th in the V of the first progression. Similarly, you will need to double the 5th of ivb in the second progression.

Question 9

FP9 (mid-phrase patterns involving viib)

Answer 9

• For 8-7-8 you will need to double the root of Ib.
• For 5-4-3 you will need to double the 5th of viib.
• You should include a suspension on viib (a 7-6) to help disguise the 5th where this feature appears on the Bach examples.