Module 27 mini-test

1. What is the basic waltz accompaniment pattern?

2. How should the three beats generally be weighted?

3. What is an Alberti bass?

4. What is the difference between 3/4 and 6/8 feel?

5. Why are suspensions useful in classical-style arrangement?

6. What is an appoggiatura?

7. Why should low-register arpeggios be widely spaced?

8. What is the chromatic line in Am → A7 → Dm?

9. What is a cadential 6/4 in C?

10. Can the same chord progression sound like pop, jazz, or classical music? What changes?

Answers

1. Bass on beat 1, chords on beats 2 and 3.
2. Beat 1 is strongest; beats 2 and 3 are lighter.
3. A broken-chord pattern typically arranged low-high-middle-high, e.g. C-G-E-G.
4. 3/4 has three primary beats; 6/8 usually has two primary beats, each subdivided into three.
5. They create expressive delayed resolutions and stronger independent voice motion.
6. An accented non-chord tone, often approached by leap and resolving by step.
7. Close low intervals become muddy; wide spacing preserves clarity.
8. C → C♯ → D
9. C/G → G7 → C
10. Absolutely. Meter, rhythm, voicing, articulation, register, accompaniment texture, dynamics, and ornament vocabulary largely determine the style.

The central lesson of Module 27 is:

Style is often the answer to “how are these chords moving through time?” rather than “which chords are these?”

Module 28 will move into Latin and Bossa Nova piano: clave-derived rhythmic thinking, syncopated chord placement, bass patterns, bossa accompaniment, major 6/9 and jazz harmony, anticipating chord changes, and how to make a familiar tune feel Latin without merely adding a percussion-like rhythm underneath it.