No.

43
HS Theory III - 11/23/19
Henri Challan
from 380 Basses et Chants Données

b6
&b 8

? bb 6 œ œ œ™ œ œ™
{ 8
5
J
6
Ϫ
6 5 #
œ
6
œJ
6
œ
J
#

b b
&

? bb œ œ œ nœ #œ œ bœ œ œ
{ 6
J
5 # 6
J
6
J
5 6
œ
J
6 #
œ œ
J
6 6
J
#
˙™
5

The possibilities of art are infinite but not unlimited.

- Charles Rosen, The Classical Style
 No. 45
HS Theory III - 11/23/19
Henri Challan
from 380 Basses et Chants Données

#### 6
& 8

? #### 6 œ œ œ œ
{ 8
5
J
6 6
J
5
Ϫ
5 6
Ϫ
5
Ϫ
6
œ
5
œJ
6
Ϫ
6 5
Ϫ
5

5
####
&

? #### œ œ™
{ œ œJ œ ™ œ J
œ œJ œ œJ œ œJ œ ™
5 5 5 5 6 5 6 6 5 5 5

Directions
Analyze the harmony with Roman numerals. Then, realize in four voices.

Hints and suggestions

Consider writing the entire soprano line (or entire phrases) first. Of course, you can revise the soprano as the
rest of the harmony is realized.

Notice any sequences (harmonic patterns that repeat immediately, at a different interval). When the pattern repeats,
could you harmonize it the same way (or similarly) as you did the first time?

Figures with lines indicate that the harmony remains the same, but that the chord changes position. Not all the
voices have to move; in fact, it may be wisest to keep as many common tones as possible.

Figures that occur between notes indicate that the harmony changes above the same bass note. Again, keep
as many common tones as possible.

The bass is certainly #tuneful, which is a good set-up for the rest of the voices to be #tuneful as well. Make it musical!

"Music is nothing more than an incalculable

number of solutions based on a limited vocabulary."
- Nadia Boulanger