Homework — Workshop 21
A. Destination map
Take one chorus and write only the structural arrival chords.
Do not write passing chords.
Play them.
B. Dominant arrows
For every dominant in the tune, say aloud its likely destination before playing the next chord.
C. Minor ii–V packets
Practice:
Bm7♭5-E7-Am
Em7♭5-A7-Dm
Am7♭5-D7-Gm
in shells.
D. Major ii–V packets
Practice:
Cm7-F7-B♭maj7
Dm7-G7-Cmaj7
Gm7-C7-Fmaj7
with minimal guide-tone movement.
E. Melody-as-compass
Choose four long melody notes.
Identify their function over every chord underneath them.
F. Common-tone voicing
Find three chord transitions where you can keep at least two RH notes stationary.
G. Guide-tone solo
One chorus using only:
3rds
7ths
and chromatic approaches.
H. Structural solo
Ignore passing chords.
Aim only for your destination notes.
Record it.
I. Simplification
Take one rich 8-bar section.
Remove half the chords.
Play it.
Restore only the chords you can clearly hear improving the motion.
J. Full arrangement
Build:
- simple opening
- shells and melody
- one chromatic inner line
- one altered dominant
- one tritone substitute maximum
- one common-tone reharmonization moment
- clear structural climax
- simple ending
The goal is not to make the harmony more complicated.
The goal is to make the existing complexity understandable.