#2
Generally in voice leading, you will only want to use Major, minor, dominant 7th, and diminished chords.

When I was practicing, I would find a hymnal, take the melody (soprano), or any other part really, and harmonize that. then, I would compare it to what was written in the hymnal.

It also wouldn't be bad to become familiar with the basic rules of counterpoint, if you aren't already.

http://www.etproductions.com/gsa/pages/rules-of-counterpoint.html
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#3
Quote by dannydawiz
Also when voice leading am I only allowed to use inversions such as 1-3-5, 1-3-6, and 1-4-6? Would I be able to use for example other types of chords like 1-3-5-6?


You can use any type of chords you like in free writing. When it comes to exercises it's down to whoever your teacher is or whoever wrote the book you're working from. Usually root position and first inversion triads can be used freely. Second inversion triads are only allowed as part of a cadential six-four or as a passing chord.

If I saw a chord with the intervals of a third, fifth and sixth above the bass in this type of writing, I would be inclined to look at it as a seventh chord in first inversion. Usually a chord like that would be part of a progression like II6/5 - V - I. Traditional part writing exercises usually want the harmony to be functional, so the use of the sixth as a colour tone like you might find in Jazz and Rock harmony wouldn't be acceptable.

If you're interested in traditional four part writing, the Bach 371 Harmonised Chorales and 69 Chorale Melodies with Figured Bass edited by Riemenschneider has more example pieces than you can shake a stick at.
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