Complete the bass line for the melody below, following eighteenth-century voice-leading procedures. Below the bass line, write the Roman and Arabic numerals that indicate the harmonies and inversions implied by the soprano and bass. Observe the following:

A. Keep the portion you compose consistent with the first two phrases.

1. Write an appropriate cadence at each phrase ending, including a perfect authentic cadence at the final cadence.
2. Give melodic interest to the bass line by balancing upward and downward motion and by balancing melodic steps and leaps.
3. Vary the motion of the bass line in relation to the soprano.
4. Use mostly quarter notes. (Where appropriate, note values ranging from half notes to eighth notes may be used.)
B. Do not notate alto and tenor lines.