Workshop 11 mini-test

1. What is the first question to ask about a chromatic chord?

2. What is the difference between structural and passing harmony?

3. Why can dense chromatic voicings bury the melody?

4. What are the critical resolutions in G7♭9→C?

5. Why does D♭7 substitute for G7?

6. What is the backdoor cadence into C?

7. What is the value of designing a chromatic line before choosing chords?

8. Why shouldn’t every dissonant melody note be given a new chord symbol?

9. What is the recognizability-budget principle here?

10. What is the deepest lesson of the workshop?

Answers

1. Where is it going?
2. Structural harmony defines the main functional path; passing harmony connects those structural points through temporary color or voice leading.
3. Too many close inner tensions compete acoustically with the top voice.
4. B→C, F→E, A♭→G.
5. G7 and D♭7 contain the same essential guide-tone tritone enharmonically, so both can resolve toward C.
6. Fm7→B♭7→C.
7. The line gives the reharmonization horizontal logic and prevents arbitrary chord substitution.
8. It may simply be a passing tone, suspension, appoggiatura, or neighbor whose meaning comes from melodic motion.
9. If you make the harmony much more complex, preserve melody, meter, or phrase structure more clearly so the tune remains recognizable.
10. Chromatic harmony sounds sophisticated only when the listener can still hear the voices, the destination, and the melody through it.

The central lesson of Workshop 11 is:

Reharmonization is not the art of finding more chords. It is the art of creating better motion between the notes that matter.