Workshop 19 mini-test

1. What is a pedal point?

2. What is the defining note of C Lydian?

3. What does D major triad over C bass contribute?

4. What is the difference between G7sus and G7?

5. What single note movement converts G7sus into G7?

6. How should improvisational thinking differ between modal and functional sections?

7. Why are motifs especially important over static harmony?

8. What is planing?

9. Why should substitutions be used sparingly inside an already colorful modal section?

10. What is the deepest lesson of Workshop 19?

Answers

1. A sustained or repeated bass note that remains while upper harmony changes.
2. F♯, the ♯4/♯11.
3. D, F♯, A = 9, ♯11, and 13 over C.
4. G7sus uses C instead of the dominant’s major 3rd B; G7 contains B and therefore has stronger functional dominant pull.
5. C → B
6. Over static/modal harmony, develop color, motif, rhythm, and register; over functional harmony, hear packets, guide tones, and destinations.
7. Because the chord changes are no longer generating melodic development for you.
8. Moving similar chord shapes in parallel primarily for color rather than traditional functional resolution.
9. Because the section already has harmonic color complexity; adding too much directional chromaticism can obscure the stable modal center.
10. You need to know whether the harmony is asking you to travel somewhere or inviting you to stay and explore the sound.

The central lesson of Workshop 19 is:

Functional harmony is about gravity. Modal harmony is about atmosphere. A complete improviser needs to hear when the music changes the laws of physics.