Here are three minor phrases I'm fairly happy with. I'm aware of one hidden parallel fifth in the third phrase, between the bass and the alto, bars one to two, but as far as I know the rest is clear. I've tried to be a bit more creative with these than the last ones, which were mainly just tonicizing the predominant.
I've tried to vary the exercises slightly, by using different meters and registers, just to keep things interesting, and give myself practice in more situations.
Thought I'd provide a brief analysis, to give you an idea of my intentions in each exercise:
In the first exercise I used a V/iv to precede an imperfect cadence. It seems more like an 8 bar sentence in structure than a 4 bar phrase, as the second bar ends with an imperfect cadence - though with a minor v - and the fourth bar ends with a perfect cadence after a bit of repetition, so I suppose it could be barred in 2/4 and called an 8 bar sentence. I was in a happy mood, and so ended with a
tierce de picardie.
The second I was slightly more adventurous and decided to end the phrase with a perfect cadence on the relative major. This is definitely a four bar phrase, and leaves a definite feel of a need of a consequent phrase to balence it, with a perfect cadence on the tonic. I might write one actually, next time I have some time to kill
The third phrase I tried using one of your formulae, example ten in your finale file: V - V/VI - VI. This was a slight problem for me as your example was in the major mode, and I am in the minor, but eventually I worked out what I think to be a pleseant sounding and theortically sound progression.
I look forward to your comments/corrections
