Module 11 mini-test

1. What is ii–V–I in C?

2. What qualities are ii, V, and I in a major-key seventh-chord progression?

3. What is ii–V–I in F?

4. If you see Am7-D7, what tonic does that suggest?

5. Why are 3rds and 7ths so important?

6. What are the guide tones of G7?

7. How do they resolve to C?

8. What is the minor ii–V–i in A minor?

9. When improvising diatonically over Dm7-G7-Cmaj7, do you need three completely different scales?

10. What is the main difference between randomly running C major and improvising well over the progression?

Answers

1. Dm7-G7-Cmaj7
2. m7 → dominant 7 → maj7
3. Gm7-C7-Fmaj7
4. G
5. They define much of chord quality and create the strongest voice-leading relationships.
6. B and F
7. B → C, F → E
8. Bm7♭5-E7-Am
9. No. They are all fundamentally compatible with C-major material; chord-tone targeting matters more.
10. Good improvisation uses the scale while targeting notes that describe each changing chord.

The central lesson of Module 11 is:

ii–V–I is not really three separate chords. It is one directed harmonic gesture.

Once you hear it that way, an enormous amount of jazz harmony becomes easier to understand.

Module 12 takes the next big step: secondary dominants. That is where we'll fully decode those orange E7, A7, D7, etc. chords from your original chart and learn how to deliberately create progressions such as:

Cmaj7 → E7 → Am7 → A7 → Dm7 → G7 → Cmaj7

instead of merely encountering them as mysterious chords outside the key.