Module 26 mini-test

1. What is I-V-vi-IV in C?

2. What is it in G?

3. Why are inversions particularly useful in pop piano?

4. What is the difference between Cadd9 and Csus2?

5. What does G/B mean?

6. Why are pedal/common top notes useful in pop?

7. What is an ostinato?

8. What are some ways to make a chorus sound larger without changing chords?

9. Why is major pentatonic useful for pop fills?

10. What is more important to pop piano than constantly adding more sophisticated harmony?

Answers

1. C-G-Am-F
2. G-D-Em-C
3. They create smooth voice leading, reduce jumps, and allow melodic bass movement.
4. Cadd9 keeps the major 3rd E and adds D; Csus2 replaces E with D.
5. G major chord with B in the bass.
6. They create continuity while the bass/harmony changes underneath.
7. A short musical pattern repeated persistently.
8. LH octaves, wider RH voicings, higher register, octave melody, greater rhythmic density, stronger dynamics, and more frequent chord attacks.
9. It contains highly consonant, singable notes and avoids some stronger diatonic tensions.
10. Rhythm, texture, voice leading, bass design, dynamics, register, and structural contrast.

The key lesson of Module 26 is:

In pop piano, the progression can stay almost unchanged while the emotional scale of the arrangement changes completely.

Next, Module 27 — Waltz and Classical-Style Accompaniment will return somewhat toward your original piano background: 3/4 and 6/8 feel, bass-chord-chord textures, Alberti patterns, arpeggiated accompaniments, classical voice-leading habits, suspensions, and how to transform the same melody into a graceful waltz or more classically flavored arrangement.