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?

#16:


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


17. Interval: ___ / ___