Music Transcription Harmonic Progression Analysis 5 — Questions and Answers
Question 1: What distinguishes a pivot chord modulation from a chromatic modulation?
- Pivot chord modulation uses a chord common to both keys; chromatic modulation uses a half-step chord shift without a common chord (Correct answer)
- Pivot chord modulation is only used in minor keys
- Chromatic modulation always involves an augmented sixth chord
- Pivot chord modulation requires an enharmonic respelling
Correct 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.
Question 2: In jazz lead-sheet notation, 'Cmaj7#11' indicates which scale is implied?
- C Dorian
- C Lydian (Correct answer)
- C Mixolydian
- C Locrian
Correct answer: C Lydian
A major chord with a raised 11th (#11) implies the Lydian mode, which features a raised 4th scale degree.
Question 3: When a bass line moves in contrary motion to the soprano while inner voices hold, this is an example of which contrapuntal technique?
- Oblique motion
- Parallel motion
- Contrary motion (Correct answer)
- Similar motion
Correct answer: Contrary motion
Contrary motion occurs when two voices move in opposite directions (one ascending while the other descends).
Question 4: The 'Coltrane changes' substitution system, used in 'Giant Steps,' divides the octave into how many equal parts?
- Two (tritone)
- Three (major thirds) (Correct answer)
- Four (minor thirds)
- Six (whole tones)
Correct 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.
Question 5: Which Roman numeral represents the leading-tone triad in major and what is its quality?
- VI — major
- VII — major
- vii° — diminished (Correct answer)
- vii — minor
Correct answer: vii° — diminished
The leading-tone triad in major is vii°, a diminished triad built on the seventh scale degree.
Question 6: When transcribing a chord progression by ear, which strategy helps confirm whether a chord is major or minor?
- Listen to the loudest note in the chord
- Identify whether the third above the bass sounds bright (major) or dark (minor) (Correct answer)
- Count the number of notes in the chord
- Check whether the bass note moves by step or leap
Correct 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).
Question 7: A 'false relation' (cross-relation) in harmonic analysis refers to what?
- A chord that is not in the key signature
- A chromatic half-step conflict between the same pitch class in different voices in adjacent chords (Correct answer)
- A doubled leading tone in four-part harmony
- A progression that skips the dominant chord
Correct 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.
Music Transcription Harmonic Progression Analysis 5
What distinguishes a pivot chord modulation from a chromatic modulation?