Chromatic Harmony Quiz

1. Take the Ger+6 chord of F#–minor:

Chord #1:

2. Transpose the chord up the interval of a minor 6th:

Chord #2:

3. Spell the #4 tone (still considering it a Ger+6 chord) as flat–5:

Chord #3:

4. Treat Chord 3 as a V7 in a minor key and resolve it deceptively (to VI) and you get this chord:

Chord #4:

5. Transpose Chord 4 down a d4:

Chord #5:

6. Take the one note in common between Chord 5 and viio7/vi in A Phrygian’s relative Ionian key, and treat that note as tonic of a new major key:

#6. Key: ______

7. Of the five notes not in #6 key, only one major triad can be formed. (Use flats instead of sharps. Also, think enharmonically):

Chord #7:

8. Transpose Chord 7 up the interval of an augmented 2nd:

Chord #8:

9. Take the one note in common between Chord #8 and Chord #2 and treat that note as the supertonic in the new minor key of:

#9. Key: ___ Minor

10. The Neapolitan chord of this #9 key is the same chord as V/iii in this key:

#10. Key: _____

11. The interval between "Re" in #10 key and "Di" in #6 key, if the former is below the latter, is this interval:

Chord #11:

12. This interval could be used in a Fr+6 in which minor key?

#12. Key: _____

13. Build a cto7 (common–tone diminished seventh chord) using the common–tone Key #12’s dominant:

Chord #13:

14. Chord #13 is viio7/ii in this minor key’s (or Aeolian mode’s) relative major key (or Ionian mode):

14. Key/Mode: ___ Aeolian

15. Key #14’s relative Locrian key is this:

#15. ___ Locrian

16. Of the five notes not found in Mode #15, which two are found in G# Dorian’s relative Mixolydian?


17. Name the interval created by notes in #16:

17. Interval: ___ / ___