Workshop 13 mini-test

1. What is Dm7♭5-G7-Cm in C minor?

2. Why does G7 contain B natural?

3. What is E♭m7-A♭7-D♭maj7?

4. What makes Dm7♭5 and D♭maj7 surprisingly close in voicing?

5. What is the simplest useful scale strategy for the C-minor section?

6. What note must change when G7 appears?

7. Why should the LH bossa pattern stay relatively stable?

8. What is the central independence challenge in bossa piano?

9. Why is Cm6/9 often useful as a final tonic-minor sound?

10. What is the deepest lesson of this workshop?

Answers

1. iiø–V–i.
2. B natural is the raised leading tone that resolves B→C, giving the dominant real pull toward C minor.
3. ii–V–I in D♭ major.
4. They can share F-A♭-C, with only the bass/root changing from D to D♭.
5. Use mostly the C natural-minor collection, then explicitly acknowledge B natural over G7.
6. B♭ → B natural.
7. It anchors the groove so melody and RH harmony can phrase independently around it.
8. Keeping the bass pulse automatic while RH chords and melody use syncopated, independent rhythms.
9. Its A natural gives a classic jazz-minor tonic color that can feel more final than the modal B♭ of Cm7.
10. A steady groove allows you to simplify your harmonic thinking: hear each tonal center broadly, target the important chord tones, and let rhythm carry much of the sophistication.

The central lesson of Workshop 13 is:

In bossa, the accompaniment should be stable enough that the melody feels free.