Workshop 16 mini-test

1. What is the borrowed iv chord in C major?

2. What inner line makes F→Fm→C so effective?

3. What is V7/vi in C?

4. What important note does E7 introduce?

5. What is V7/ii in C?

6. What is the tritone-sub cadence into C?

7. What is the difference between borrowed color and modulation?

8. Why should passing diminished chords often be voiced more lightly?

9. What is the best way to decide whether a reharmonization is convincing?

10. What is the deepest lesson of Workshop 16?

Answers

1. Fm
2. A → A♭ → G
3. E7
4. G♯, normally resolving toward A.
5. A7
6. Dm7 → D♭7 → C
7. Borrowed color temporarily imports harmony from a parallel mode while the original tonic remains established; modulation establishes a new tonic strongly enough that it begins to sound like home.
8. Because they function mainly as connectors rather than structural destinations.
9. Check whether melody, bass, and inner voice all move convincingly toward a meaningful destination.
10. Major-key chromatic harmony becomes expressive when you hear it as smooth voice motion—especially semitone motion—rather than as a collection of sophisticated chord names.

The central lesson of Workshop 16 is:

The best chromatic chord is often simply the name we give to a beautiful moving voice.