Unit quiz: Putting the analysis into the hands and the project: applied chords on guitar and keyboard, modal colour, harmony as editable note data, and one proven key change

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5 questions · 80% to pass · no timer. This quiz checks the lessons in this unit. These authored questions assess recognition and application of the taught distinctions, not professional qualification. You may review the lessons and retry. Repeat attempts reuse the question bank; a remembered answer is not proof of transfer to a new situation.

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Question 1

A guitarist in C major plays D7 then G7 and finds the change sounds disconnected even though both chords are correct. Using guide tones and the construction of applied dominants, what single change is recommended, and what does it look like on the instrument?Play only the guide tones of D7, F sharp on the fourth string at the fourth fret and C on the second string at the first fret, and move both down one semitone to F at the third fret and the open B string, which are the guide tones of G7Move both chords into the same inversion and add the root of each chord in the bass, so that the voices move in parallel and the progression sounds even

Question 2

A learner has written a four-bar passage in D Aeolian with the chords D minor and G minor, and wants the same notes to sound Dorian instead. On the instrument and in the harmony, what is the smallest change that achieves it, and what is the evidence that it worked?Raise the fourth degree and add a C sharp, because Dorian is major with a lowered seventh and the fourth is the note that carries the modeRaise the sixth degree from B flat to B natural, which on the fourth string is moving from fret 8 to fret 9, and change the accompanying chord from G minor to G major so the progression becomes the Dorian shuttle of i to IV

Question 3

A learner built an eight-bar keyboard chord part, then wants three things: to change one wrong note in a chord, to move the whole part up a whole tone, and to try a completely different instrument sound. The part was captured from the keyboard, and a recorded bass guitar sits underneath it. Which material can do all three, and what does the manual say about the file that the recorded part will not appear in as data?The keyboard part can do all three because it is note data, whose pitches are values that can be edited, transposed by two semitones and re-voiced with any instrument; the recorded bass is a waveform, and .mid saves note data with the manual stating that MIDI is not an audio format, so the bass cannot be carried that wayBoth parts can do all three because a whole tone is two semitones whether the material is data or sound, and a .mid file carries the complete mix so both parts travel in it

Question 4

A producer finishing a thirty-two-bar arrangement at 96 beats per minute wants the final sixteen-bar section a whole tone higher, reached through a shared chord. Where does the change fall in seconds, which chord can carry it from C major to D major, and what has to be decided about any recorded audio in the transposed section?The change falls at 80.0 s because the whole form is thirty-two bars, and F can carry it because the subdominant is shared between the two keys, with recorded audio transposed in the same operation as the dataThe change falls at 40.0 s, G can carry it because it is I in C major and IV in D major, and any recorded audio part must be decided separately, since raising its pitch is processing sound rather than changing a data value

Question 5

A learner reports that a session was cut short after twenty minutes with two errors late in the passage, that the monitor level had to be raised to hear the inner part, and that the next session will therefore be longer and louder to make up for it. Which response is consistent with the practice and safety material in this level?Shorten and structure the work instead: isolate the smallest version of the passage, climb a tempo ladder with a written error count, warm up first, and set the monitor level once at a moderate setting rather than raising itExtend the next session and raise the level, because total practice time is what determines retention and a louder monitor reveals detail that quieter listening masks

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