Mastering Complex Chordal Playing Quiz

1. Experiment with polychords (e.g., playing two different chords ______). simultaneously
a) simultaneously (gleichzeitig)
b) sequentially (nacheinander)
c) randomly (zufällig)

2. Use quartal harmony (stacking fourths) for a modern, ______ sound. jazzy
a) jazzy (jazzig)
b) classical (klassisch)
c) pop (Pop)

3. Explore altered chords (e.g., b9, #11, b13) to add ______ and sophistication. tension
a) tension (Spannung)
b) harmony (Harmonie)
c) rhythm (Rhythmus)

4. Practice reharmonizing entire songs with unexpected chord ______. substitutions
a) substitutions (Substitutionen)
b) inversions (Umkehrungen)
c) extensions (Erweiterungen)

5. Incorporate slash chords with complex bass movements for a ______ texture. rich
a) rich (reiche)
b) thin (dünne)
c) bright (helle)

6. Use "planing" techniques (parallel chords) for smooth ______. transitions
a) transitions (Übergänge)
b) rhythms (Rhythmen)
c) melodies (Melodien)

7. Apply hybrid voicings by combining triads with ______ tones. extended
a) extended (erweiterte)
b) root (Grund-)
c) passing (Durchgangs-)

8. Integrate chromatic voice leading between ______ tones. chord
a) chord (Akkord-)
b) melody (Melodie-)
c) rhythm (Rhythmus-)

9. Practice upper structure triads to create complex sounds over ______ chords. simple
a) simple (einfache)
b) complex (komplexe)
c) extended (erweiterte)

10. Use modal interchange to borrow chords from ______ modes. parallel
a) parallel (parallele)
b) relative (verwandte)
c) distant (entfernte)

11. Harmonize melodies using full ______ chords (both hands). block
a) block (Block-)
b) broken (gebrochene)
c) open (offene)

12. Add inner voice movement within chords while maintaining the ______. melody
a) melody (Melodie)
b) rhythm (Rhythmus)
c) harmony (Harmonie)

13. Use counterpoint by creating independent lines that complement the ______. melody
a) melody (Melodie)
b) chords (Akkorde)
c) rhythm (Rhythmus)

14. Practice polyphony by playing multiple ______ lines simultaneously. melody
a) melody (Melodie-)
b) chord (Akkord-)
c) rhythm (Rhythmus-)

15. Play the melody in unexpected registers (e.g., bass clef or extreme ______). treble
a) treble (Violinschlüssel)
b) alto (Altschlüssel)
c) tenor (Tenorschlüssel)

16. Add cascading runs leading into or out of ______ notes. melody
a) melody (Melodie-)
b) chord (Akkord-)
c) rhythm (Rhythmus-)

17. Use octave displacement to play melody notes an octave ______ or lower. higher
a) higher (höher)
b) lower (tiefer)
c) faster (schneller)

18. Combine chordal fills with melody fragments for ______ variety. textural
a) textural (texturelle)
b) rhythmic (rhythmische)
c) harmonic (harmonische)

19. Emphasize rubato playing to give melodies ______ depth. emotional
a) emotional (emotionale)
b) technical (technische)
c) rhythmic (rhythmische)

20. Apply tremolo or trills to sustain and embellish ______ notes. melody
a) melody (Melodie-)
b) chord (Akkord-)
c) rhythm (Rhythmus-)

21. Develop "outside playing" techniques by temporarily stepping out of the ______. key
a) key (Tonart)
b) rhythm (Rhythmus)
c) melody (Melodie)

22. Improvise with advanced scales like melodic minor, diminished, and ______. whole-tone
a) whole-tone (Ganzton-)
b) pentatonic (pentatonisch)
c) blues (Blues-)

23. Use enclosures (surrounding a target note with chromatic ______). approaches
a) approaches (Annäherungen)
b) rhythms (Rhythmen)
c) chords (Akkorde)

24. Experiment with motif development during ______. improvisation
a) improvisation (Improvisation)
b) composition (Komposition)
c) practice (Übung)

25. Incorporate rhythmic motifs that break away from the ______. beat
a) beat (Beat)
b) melody (Melodie)
c) harmony (Harmonie)

26. Improvise with layered textures, such as combining arpeggios and chord ______. stabs
a) stabs (Stiche)
b) runs (Läufe)
c) fills (Füllungen)

27. Explore free improvisation, playing without strict adherence to a ______. progression
a) progression (Akkordfolge)
b) melody (Melodie)
c) rhythm (Rhythmus)

28. Use advanced rhythmic displacement to play phrases across ______ lines. bar
a) bar (Takt-)
b) chord (Akkord-)
c) melody (Melodie-)

29. Improvise with double-time runs and triplet patterns for dynamic ______. variation
a) variation (Variation)
b) repetition (Wiederholung)
c) simplicity (Einfachheit)

30. Experiment with silence and space as part of your ______. improvisation
a) improvisation (Improvisation)
b) composition (Komposition)
c) practice (Übung)

31. Analyze lead sheets for opportunities to use secondary dominants and ______ substitutions. tritone
a) tritone (Tritonus-)
b) relative (verwandte)
c) parallel (parallele)

32. Practice sight-reading lead sheets with modulations and ______ changes. key
a) key (Tonart-)
b) rhythm (Rhythmus-)
c) tempo (Tempo-)

33. Learn advanced notations like "add9," "sus13," and ______ symbols. alt
a) alt (alt)
b) dim (dim)
c) aug (aug)

34. Use the Nashville Number System to transpose lead sheets ______. quickly
a) quickly (schnell)
b) slowly (langsam)
c) randomly (zufällig)

35. Experiment with interpreting lead sheets in different genres (e.g., jazz, ______). Latin
a) Latin (Latin)
b) classical (klassisch)
c) pop (Pop)

36. Focus on playing left-hand walking basslines while following ______ changes. chord
a) chord (Akkord-)
b) melody (Melodie-)
c) rhythm (Rhythmus-)

37. Combine lead sheet reading with improvising fills between ______ symbols. chord
a) chord (Akkord-)
b) melody (Melodie-)
c) rhythm (Rhythmus-)

38. Reinterpret the lead sheet by creating your own chord inversions and ______. voicings
a) voicings (Voicings)
b) rhythms (Rhythmen)
c) melodies (Melodien)

39. Learn to spot deceptive cadences and use them ______. creatively
a) creatively (kreativ)
b) technically (technisch)
c) rhythmically (rhythmisch)

40. Incorporate ornaments and stylistic flourishes not written in the ______. lead sheet
a) lead sheet (Lead Sheet)
b) score (Partitur)
c) chart (Chart)

41. Explore odd time signatures (e.g., 5/4, 7/8) and adapt chord patterns to ______. fit
a) fit (passen)
b) break (brechen)
c) simplify (vereinfachen)

42. Use hemiolas (playing in 3/4 against 6/8) for rhythmic ______. complexity
a) complexity (Komplexität)
b) simplicity (Einfachheit)
c) speed (Geschwindigkeit)

43. Experiment with "metric modulation," shifting the perceived ______ mid-song. tempo
a) tempo (Tempo)
b) key (Tonart)
c) rhythm (Rhythmus)

44. Layer rhythms by playing one pattern in the left hand and another in the ______. right hand
a) right hand (rechte Hand)
b) left hand (linke Hand)
c) foot (Fuß)

45. Use syncopated basslines that contrast with right-hand ______. rhythms
a) rhythms (Rhythmen)
b) melodies (Melodien)
c) chords (Akkorde)

46. Apply grooves like Afro-Cuban or funk rhythms to chord ______. progressions
a) progressions (Akkordfolgen)
b) melodies (Melodien)
c) scales (Skalen)

47. Incorporate cross-rhythms (e.g., 3 against 2 or 4 against 3) for added ______. complexity
a) complexity (Komplexität)
b) simplicity (Einfachheit)
c) speed (Geschwindigkeit)

48. Use staggered rhythms where chords are played slightly off the ______. beat
a) beat (Beat)
b) melody (Melodie)
c) harmony (Harmonie)

49. Play rhythmic ostinatos while changing the ______ over them. harmony
a) harmony (Harmonie)
b) melody (Melodie)
c) rhythm (Rhythmus)

50. Record and analyze your rhythmic playing to refine ______ and feel. timing
a) timing (Timing)
b) speed (Geschwindigkeit)
c) dynamics (Dynamik)