Homework for Module 26

A. Four-chord loop

Practice:

C-G-Am-F

in:

1. root position
2. smooth RH inversions
3. G/B version
4. add9/7 version

Compare.

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B. Transpose by number

Play:

I-V-vi-IV

in:

C

G

D

F

without thinking of each as a new progression.

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C. Three textures

Play the same progression as:

1. whole-note ballad
2. quarter-note pop pulse
3. syncopated pattern

No chord changes.

Hear how style changes.

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D. Common top note

Keep G as top note through:

C → G → Am7 → Fadd9

Find workable voicings underneath.

Then do the same with E where possible.

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E. Bass-line exercise

Practice:

C → G/B → Am → Em/G → F → C/E → Dm → G

Play bass alone first.

Then add RH.

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F. Pop chord colors

Compare:

C

Cadd9

Csus2

Csus4

Cmaj7

Identify which sound most naturally belongs to different pop moods.

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G. Build across sections

Play four repetitions of C-G-Am-F:

1

single roots + sparse RH.

2

add rhythm.

3

LH octaves + full RH.

4

drop suddenly back to sparse.

Record and listen for the structural effect.

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H. Ostinato

Create a 2–4 note RH pattern.

Repeat it over:

C-G-Am-F.

Change the minimum number of notes necessary.

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I. Melody fills

Use only C major pentatonic:

C-D-E-G-A

Create fills of no more than four notes.

Leave at least one beat of silence afterward.

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J. Complete pop arrangement

Take a simple pop-style melody and create:

• intro
• sparse verse
• build
• full chorus
• breakdown
• final chorus
• deliberate ending

Use no more than one borrowed chord and one secondary dominant.

Force yourself to create the rest of the variety through arrangement rather than harmonic complexity.