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Oh dear that's pretty embarrassing. Oh well - this is what happens when you don't check things properly! As for using parallels in general - the classical era composers were all actually very careful and avoided them wherever possible (the romantics were more laid back about it). However, as we'll see in the next lesson they did sometimes use DELIBERATE doubling in octaves. This only ever occurs in the bass line or melody (doubling an inner part at the octave would cause loads of problems for the voice leading).
Bar 6 is just a D major chord (how about a first inversion?) - however don't feel that you have to harmonise each bar one at a time - you can have more than one chord per bar!
Also (and this answers your other question) you don't usually need to harmonise the UPBEATS (technically known as anacruses). In choral and instrumental music, you'll often find that upbeats sound in a single voice, or just one or two rather than the whole texture. The reason for doing this is that the full force of the harmony comes on the main beats - that's why there are some 'unharmonised' notes in my Haydn minuet. In the G major exercise, for example, you could leave the triplet upbeats unharmonised, or just harmonise them with one voice (maybe in triplets too? - using two part counterpoint i.e. thirds and sixths - if that's too hard don't worry). Sounds like you've got the right idea though, all those chords should work - I'll give you a little advice about the last few bars - in bar 5 you can use the passing 6/4 for example on those two Ds.
from bar 5: (quavers: ) B A (6/4) (crotch: ) G | (dotted crotch: ) F# (quaver) E | (minim: ) A | D (quavers A D)...
Matt
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