Harmonic Progression Analysis Flashcards
7 cards from real Music Transcription practice questions. Tap to flip, then mark Knew It or Still Learning — missed cards come back until you master them.
Read the first 7 Harmonic Progression Analysis flashcards as text
What distinguishes a pivot chord modulation from a chromatic modulation?
Answer: Pivot chord modulation uses a chord common to both keys; chromatic modulation uses a half-step chord shift without a common chord
A pivot chord belongs diatonically to both the old and new key, while a chromatic modulation shifts by half step without such a shared chord.
In jazz lead-sheet notation, 'Cmaj7#11' indicates which scale is implied?
Answer: C Lydian
A major chord with a raised 11th (#11) implies the Lydian mode, which features a raised 4th scale degree.
When a bass line moves in contrary motion to the soprano while inner voices hold, this is an example of which contrapuntal technique?
Answer: Contrary motion
Contrary motion occurs when two voices move in opposite directions (one ascending while the other descends).
The 'Coltrane changes' substitution system, used in 'Giant Steps,' divides the octave into how many equal parts?
Answer: Three (major thirds)
Coltrane changes divide the octave into three equal parts using major thirds, cycling through three tonal centers a major third apart.
Which Roman numeral represents the leading-tone triad in major and what is its quality?
Answer: vii° — diminished
The leading-tone triad in major is vii°, a diminished triad built on the seventh scale degree.
When transcribing a chord progression by ear, which strategy helps confirm whether a chord is major or minor?
Answer: Identify whether the third above the bass sounds bright (major) or dark (minor)
The quality of the third above the bass is the primary indicator of major (bright, larger interval) versus minor (dark, smaller interval).
A 'false relation' (cross-relation) in harmonic analysis refers to what?
Answer: A chromatic half-step conflict between the same pitch class in different voices in adjacent chords
A false relation occurs when the same pitch class (e.g., F and F#) appears in different voices in consecutive chords, creating a chromatic clash.