Scot Ranney's LearnJazzPiano.com archive: Quartals

LearnJazzPiano.com archives: Quartals
7 -- 01/25/2004, 12:27:40 -- #1075062459
Thx Scot
I've been grilled, fried, baked and roasted but I've never been esteamed before. Feels good! Thank you. 7 Grilled (by cops) Fried (aaah the 60's) Baked (in the tropical sun on a desrt island) Roasted (mostly on this site LOL)
Oscar Peterson: Note-for-Note Transcriptions of Classic Recordings
Scot -- 01/25/2004, 12:46:38 -- #1075063598

Well, it seems like a pretty expansive topic. Lots of questions on it, and you are the guy to answer them :)
d3dy -- 12/01/2004, 05:13:17 -- #9371
pure fourth chord
i think it's just a general voice that we have when we use quartal voice which following the major scale.I think that it would be more interesting if we use the "pure" 4th chord.for example,in a Am vamp use the shell voicing on the left hand and move our left hand chromaticly using 4th chord.it would be more outside i think.... What do you think scott?
boyjazz -- 03/18/2005, 16:21:24 -- #12045
Quartals
hello i am from Cape Verde Islands and i am learning blues and jazz and i would like to know how to use this CHORDS SEQUENCE with CORECT quartals 1- Cm C7 Fm G7 C E7 Am D7 G7 C 2- FM7 B0 Em7 Dm7 G7 C BoyJazz
albetan -- 03/18/2005, 17:42:24 -- #12049

Plese go to search engine (upwards) and write: "quartal voicings" selecting "files". It will help a lot.
streza -- 03/31/2005, 12:14:50 -- #12349
Hello
Hi to all! I don't know how to make jazz voicings Can anyone help me or give some models or some principles Thanks
Connecting Chords With Linear Harmony, by Bert Ligon
staggs89 -- 07/30/2005, 20:13:34 -- #17092
Quartels
McCoy Tyner should probably get some mention here! Just one of McCoy's use of quartel harmony, is his combining quartel harmonic notes within one hand. In his composition "Folks" his left hand plays C,D,F,G. If stacked vertically as D,G,C, and F, we recognize the Quartel spacing. McCoy has combined the 4 notes as a sort of suspended dominant sound before finally playing the upcoming "C" melody note in the Right hand. (just my 2 cents worth of an observation) staggs89
Oscar Peterson: Note-for-Note Transcriptions of Classic Recordings
staggs89 -- 07/30/2005, 20:27:33 -- #17093
Another example
McCoy uses Ab,Bb,Db,Eb, as a block chord right hand within this same composition above, over a Eb bass note. Here again we can stack the notes in a quartel fashion - Bb, Eb, Ab, Db. He uses this suspended sound to disquise or mask the( major or minor ) tonality that is at the end of a phrase. Lots of Bb's, Eb's, Ab's towards the end of the phrase with the phrase ending on all Eb's. He never plays a third! One of McCoy's trademarks I dare say. (just my 2 cents worth) Staggs89
7 -- 07/30/2005, 22:14:30 -- #17099

I always called that the "double sus" position. That's because it has the elements of both a sus2 and a sus4. Leaving out the third makes an elegant ambiguity. Rolling around in this position has a spacey modal kind of feel. Especially since it’s not really a scale (or an arpeggio either). The "double sus" position is also useful in other situations too: Some examples: Over minor quality chords m11: b7 · 1 · b3 · 11 m11: 11 · 5 · b7 · 1 m69: 5 · 6 · 1 · 9 Over dominant quality chords 13th: 5 · 6 · 1 · 9 maj69: 9 · 3 · 5 · 6 Over Major quality chords Maj9sus: 1 · 2 · 4 · 5 Maj69: 9 · 3 · 5 · 6 Maj69: 5 · 6 · 1 · 9 Maj13: 13 · 7 · 9 · 3
staggs89 -- 08/01/2005, 12:09:40 -- #17136
Why not?
Seems like a good label for it! Thanks!
fingers7 -- 08/15/2005, 00:08:31 -- #17616
Quartal Permutations over ii-V7-I Progressions, by "7"
This I do not undertand. Doing fine until I hit this page. Could you explain Quartal Permutations over ii-V7-I Progressions, by "7" and how to use the info that follows. Thank you. finger7
7 -- 08/15/2005, 00:31:08 -- #17617

Instead of using the usual chord voicings over a ii-V7-I progression, this article gives a great number of substitute voicing possiblities to be used in these situations to give a more "modern" sound.
Connecting Chords With Linear Harmony, by Bert Ligon
LRM -- 09/23/2005, 20:43:20 -- #19308
Question About Quartal Permutations
7 wrote: b3 = min 3rd interval above root b7 = min 7th interval above root #7 = Maj 7th interval above root Wouldn't a #7 be the tonic an octave above the root key note? For example, if you sharp a B (note 7 in the C major scale starting on C3), you get a C4. If you sharp an E (note 7 in the F major scale starting on F3), you get an F4. Or maybe I misunderstood something. --Laura
Oscar Peterson: Note-for-Note Transcriptions of Classic Recordings
7 -- 09/24/2005, 03:10:58 -- #19315

Since the natural sign does not exist on a qwerty keyboard, I was obliged to use the # sign to denote a natural sign. I suppose I could've used "nat7" to indicate a major 7th interval above the root, but I chose #7 to equal nat7 to save the extra typing. In the case of natural minor modes, however, the term "#7" (raised 7th) is a valid since the "natural 7th" of the Dorian or Aeolian is a b7. If you see what I mean.
LRM -- 09/28/2005, 12:31:16 -- #19405
Suggestion--and Question
I'm pretty new to this site and mostly self-taught. I understand chord progredssions, scale and chord formulas and the basics of musical notation. So I understand (and appreciate) your explanation of why you used the # symbol to stand for the natural sign (which doesn't appear on the qwerty keyboard, as you said). Since the # symbol also is used to refer to sharps, however, I think using M (for major) or some other symbol (like * or !) might be less confusing--at least to newbies like me. Now for my question: I thought I knew what a quartal is, but after reading this plage, I'm not sure I understand at all. Please clarify. --Laura
7 -- 09/28/2005, 12:44:54 -- #19406

Terrtian harmony is achieved by stacking major and minor 3rds, quartal harmony is made of stacking 4ths.
rassi -- 11/03/2005, 15:24:58 -- #20581
Quartal Permutations
The interval of 4 has "uppertone" harmonic i.e the sound walk wider tone after tone. Ellington make somthing af the 4 ind 30. Tak i.e a CMaj triad seccond inversion G C E and hit a A in bas o.e thereafter D in bas G C E (F) now an G. You play II V I and only move in the bass. Red Mark Levine. Preben
Ben Blau -- 02/01/2006, 11:34:04 -- #23696
Try this
Here's a very nice structure for soloing: Have the bass player lay down a funky dorian bass line, let's say in C dorian. In your left hand, comp with fourth chords voicing downward from the notes of the C minor pentatonic scale. The chords are as follows: D4 = [D-G-C] F4 = [F-Bb-Eb] G4 = [G-C-F] A4 = [A-D-G] C4 = [C-F-Bb] Despite the fact that some of the inner tones violate the basic mode, the ear hears these chords as "correct," since it is most attracted to the uppermost tones. When you can move through the voicings easily, try soloing with your right hand, basically using C minor pentatonic as a starting point, as if you were playing a basic C blues. Now add some chromatic enclosures around the target tones in the melody for interest. See what's happenning? Alright, there's even more that can be done with this. If you want to create more tension with any of the left hand fourth chords, try dropping the lowest pitch down a half step on any of them except for the first one. For example, on the F4 chord, lower the F to Fb (E), but preserve the upper Bb and Eb. Precede this with the unaltered D4 chord. Notice the interesting tension this creates? Try it in some of the other positions. Again, since the ear is so attracted to the uppermost tone of each structure, the tensions do not sound "wrong." If this post is well-received, I've got even more quartal techniques to share, which build upon this lesson. By the way, I've been away for a few years. Nice to be with you all again! Ben Blau
Connecting Chords With Linear Harmony, by Bert Ligon
Ben Blau -- 02/01/2006, 11:39:09 -- #23697
try this
I'm not sure if I'm posting the right way here, so apologies in advance if this message shows up twice. I'm new to this forum! Anyway, here's a very nice structure for soloing: Have the bass player lay down a funky dorian bass line, let's say in C dorian. In your left hand, comp with fourth chords voicing downward from the notes of the C minor pentatonic scale. The chords are as follows: D4 = [D-G-C] F4 = [F-Bb-Eb] G4 = [G-C-F] A4 = [A-D-G] C4 = [C-F-Bb] Despite the fact that some of the inner tones violate the basic mode, the ear hears these chords as "correct," since it is most attracted to the uppermost tones. When you can move through the voicings easily, try soloing with your right hand, basically using C minor pentatonic as a starting point, as if you were playing a basic C blues. Now add some chromatic enclosures around the target tones in the melody for interest. See what's happenning? Alright, there's even more that can be done with this. If you want to create more tension with any of the left hand fourth chords, try dropping the lowest pitch down a half step on any of them except for the first one. For example, on the F4 chord, lower the F to Fb (E), but preserve the upper Bb and Eb. Precede this with the unaltered D4 chord. Notice the interesting tension this creates? Try it in some of the other positions. Again, since the ear is so attracted to the uppermost tone of each structure, the tensions do not sound "wrong." If this post is well-received, I've got even more quartal techniques to share, which build upon this lesson. By the way, I've been away for a few years. Nice to be with you all again! Ben Blau
Oscar Peterson: Note-for-Note Transcriptions of Classic Recordings
7 -- 02/01/2006, 12:09:33 -- #23699

Welcome back Ben!
Ben Blau -- 02/01/2006, 12:18:06 -- #23700
thanks!
Hey, thanks man! I've missed this place. It's much different now since the days I used to post frequently. By the way, did I post correctly? For some reason when I click the "quartals" link, I don't see it. (I guess it must be there somewhere though, since you found it.) Thanks again! Ben Blau
7 -- 02/01/2006, 13:00:14 -- #23701

In fact you posted it twice. If you hit "refresh" or "reload" it doubles up the message. If you want to see your messages in a room like this, once you've posted click the display newest first link. If you have the info you refer to as PDF files, you can upload the file here. If you don't have the software to turn a text file into a PDF lemme know and I'll tell you where to get it FREE.
Barry -- 02/01/2006, 19:33:08 -- #23722

Welcome back Ben I always remember you as a valuable contributor to the site - especially on the old site. Good to have you around again!
groyann -- 02/02/2006, 10:57:18 -- #23740

Ben, You seem to be a good contributor, and your advices seem pretty interesting. Perhaps you should have your room, in which you could share lessons like this one, shouldn't you ?
Connecting Chords With Linear Harmony, by Bert Ligon
Ben Blau -- 02/02/2006, 11:42:47 -- #23743

Wow, thank you. I'm still exploring this new forum system, and I'm not sure what a room is. Can you enlighten me? Ben Blau
Oscar Peterson: Note-for-Note Transcriptions of Classic Recordings
7 -- 02/02/2006, 18:49:15 -- #23754

In the upper left of any screen you'll see a link entitled: Rooms: show list Click on it and you'll see a list of all the rooms here. You can create your own personal room by going to Personal Rooms and at the bottom of the list on the LH side will be a link called Create a Room. Simple as that Bro'
7 -- 02/02/2006, 18:50:02 -- #23755

Actually it says Make a room
Ben Blau -- 02/03/2006, 11:04:10 -- #23783

Thanks guys. I might give that a try, if I can come up with enough stuff to make it worthwhile. Ben Blau
Ben Blau -- 02/03/2006, 11:32:25 -- #23787

By the way, did anyone dig the quartal technique I posted? Just curious. Ben Blau
sdm -- 02/03/2006, 11:48:56 -- #23789

I took it home but didn't get to it last night. I love weekends!
Connecting Chords With Linear Harmony, by Bert Ligon
DrJazz -- 04/05/2006, 19:02:24 -- #26091

I agree, Laura, the symbol #7 is confusing, and technically you are correct, but I think I understand why 7 has used it. The alternative would be to type maj7 - which is too long-winded, or to use a triangle which is not easily found on all keyboards and doesn't travel well in cyberspace if you CAN find it. Perhaps the best solution would be to use a natural sign but most keyboards don't have that option. Leaving it as just 7 is not good either, because in a chord symbol a 7 by itself always implies b7. On a related topic, I always think the scale known as a LOCRIAN #2 is confusingly named also, as it really has a natural 2nd (E in the Locrian scale on D). Technically there's no such thing as a #2 - that would be the same as a minor 3rd, but what is meant here is that it is sharpened relative to the normal Locrian scale (which has b2). Confusing or what?
jaymusiq -- 08/30/2006, 07:27:28 -- #29550
learn
learnQuartals, as written by our esteemed 7 [ Last Visit: 06/30/2005, 12:58:09 - 50 msgs 25 new - 32939 hits ] Quartal Permutations over ii-V7-I Progressions, by "7" b3 = min 3rd interval above root b7 = min 7th interval above root #7 = Maj 7th interval above root Minor quality voicings: 1 11 b7 (m11) 9 5 1 (m9) 11 b7 b3 (m11) 5 8 11 (m11) 6 9 5 (m13) dominant 7 quality voicings: 9 5 1 (9th) 3 6 9 (13th) 6 9 5 (13th) Major quality voicings: 9 5 1 (Maj9) 3 6 9 (Maj6/9) 6 9 5 (Maj6/9) #7 3 6 (Maj13no11) * * * * * * ii-V7-I progressions: C#min 1 11 b7 ( C# F# B ) descend F#7 9 5 1 ( G# C# F# ) ascend Bmaj 9 5 1 ( C# F# B ) C#min 1 11 b7 ( C# F# B ) descend F#7 9 5 1 ( G# C# F# ) descend Bmaj 3 6 9 ( D# G# C# ) C#min 1 11 b7 ( C# F# B ) descend F#7 9 5 1 ( G# C# F# ) same Bmaj 6 9 5 ( G# C# F# ) C#min 1 11 b7 ( C# F# B ) descend F#7 9 5 1 ( G# C# F# ) ascend Bmaj #7 3 6 ( A# D# G# ) * * * * * * C#min 1 11 b7 ( C# F# B ) descend F#7 3 6 9 ( A# D# G# ) ascend Bmaj 9 5 1 ( C# F# B ) C#min 1 11 b7 ( C# F# B ) descend F#7 3 6 9 ( A# D# G# ) ascend Bmaj 3 6 9 ( D# G# C# ) C#min 1 11 b7 ( C# F# B ) descend F#7 3 6 9 ( A# D# G# ) descend Bmaj 6 9 5 ( G# C# F# ) C#min 1 11 b7 ( C# F# B ) descend F#7 3 6 9 ( A# D# G# ) same Bmaj #7 3 6 ( A# D# G# ) * * * * * * C#min 1 11 b7 ( C# F# B ) ascend F#7 6 9 5 ( D# G# C# ) descend Bmaj 9 5 1 ( C# F# B ) C#min 1 11 b7 ( C# F# B ) ascend F#7 6 9 5 ( D# G# C# ) same Bmaj 3 6 9 ( D# G# C# ) C#min 1 11 b7 ( C# F# B ) ascend F#7 6 9 5 ( D# G# C# ) ascend Bmaj 6 9 5 ( G# C# F# ) C#min 1 11 b7 ( C# F# B ) ascend F#7 6 9 5 ( D# G# C# ) descend Bmaj #7 3 6 ( A# D# G# ) * * * * * * * * * * * * C#min 9 5 1 ( D# G# C# ) ascend F#7 9 5 1 ( G# C# F# ) ascend Bmaj 9 5 1 ( C# F# B ) C#min 9 5 1 ( D# G# C# ) ascend F#7 9 5 1 ( G# C# F# ) descend Bmaj 3 6 9 ( D# G# C# ) C#min 9 5 1 ( D# G# C# ) ascend F#7 9 5 1 ( G# C# F# ) same Bmaj 6 9 5 ( G# C# F# ) C#min 9 5 1 ( D# G# C# ) ascend F#7 9 5 1 ( G# C# F# ) ascend Bmaj #7 3 6 ( A# D# G# ) * * * * * * C#min 9 5 1 ( D# G# C# ) descend F#7 3 6 9 ( A# D# G# ) ascend Bmaj 9 5 1 ( C# F# B ) C#min 9 5 1 ( D# G# C# ) descend F#7 3 6 9 ( A# D# G# ) ascend Bmaj 3 6 9 ( D# G# C# ) C#min 9 5 1 ( D# G# C# ) descend F#7 3 6 9 ( A# D# G# ) descend Bmaj 6 9 5 ( G# C# F# ) C#min 9 5 1 ( D# G# C# ) descend F#7 3 6 9 ( A# D# G# ) same Bmaj #7 3 6 ( A# D# G# ) * * * * * * C#min 9 5 1 ( D# G# C# ) same F#7 6 9 5 ( D# G# C# ) descend Bmaj 9 5 1 ( C# F# B ) C#min 9 5 1 ( D# G# C# ) same F#7 6 9 5 ( D# G# C# ) same Bmaj 3 6 9 ( D# G# C# ) C#min 9 5 1 ( D# G# C# ) same F#7 6 9 5 ( D# G# C# ) ascend Bmaj 6 9 5 ( G# C# F# ) C#min 9 5 1 ( D# G# C# ) same F#7 6 9 5 ( D# G# C# ) descend Bmaj #7 3 6 ( A# D# G# ) * * * * * * * * * * * * C#m 11 b7 b3 ( F# B E ) ascend F#7 9 5 1 ( G# C# F# ) ascend Bmaj 9 5 1 ( C# F# B ) C#m 11 b7 b3 ( F# B E ) ascend F#7 9 5 1 ( G# C# F# ) descend Bmaj 3 6 9 ( D# G# C# ) C#m 11 b7 b3 ( F# B E ) ascend F#7 9 5 1 ( G# C# F# ) same Bmaj 6 9 5 ( G# C# F# ) C#m 11 b7 b3 ( F# B E ) ascend F#7 9 5 1 ( G# C# F# ) ascend Bmaj #7 3 6 ( A# D# G# ) * * * * * * * C#m 11 b7 b3 ( F# B E ) ascend F#7 3 6 9 ( A# D# G# ) ascend Bmaj 9 5 1 ( C# F# B ) C#m 11 b7 b3 ( F# B E ) ascend F#7 3 6 9 ( A# D# G# ) ascend Bmaj 3 6 9 ( D# G# C# ) C#m 11 b7 b3 ( F# B E ) ascend F#7 3 6 9 ( A# D# G# ) descend Bmaj 6 9 5 ( G# C# F# ) C#m 11 b7 b3 ( F# B E ) ascend F#7 3 6 9 ( A# D# G# ) same Bmaj #7 3 6 ( A# D# G# ) * * * * * * * C#m 11 b7 b3 ( F# B E ) descend F#7 6 9 5 ( D# G# C# ) descend Bmaj 9 5 1 ( C# F# B ) C#m 11 b7 b3 ( F# B E ) descend F#7 6 9 5 ( D# G# C# ) same Bmaj 3 6 9 ( D# G# C# ) C#m 11 b7 b3 ( F# B E ) descend F#7 6 9 5 ( D# G# C# ) ascend Bmaj 6 9 5 ( G# C# F# ) C#m 11 b7 b3 ( F# B E ) descend F#7 6 9 5 ( D# G# C# ) descend Bmaj #7 3 6 ( A# D# G# ) * * * * * * * C#m 5 8 11 ( G# C# F# ) same F#7 9 5 1 ( G# C# F# ) ascend Bmaj 9 5 1 ( C# F# B ) C#m 5 8 11 ( G# C# F# ) same F#7 9 5 1 ( G# C# F# ) descend Bmaj 3 6 9 ( D# G# C# ) C#m 5 8 11 ( G# C# F# ) same F#7 9 5 1 ( G# C# F# ) same Bmaj 6 9 5 ( G# C# F# ) C#m 5 8 11 ( G# C# F# ) same F#7 9 5 1 ( G# C# F# ) ascend Bmaj #7 3 6 ( A# D# G# ) * * * * * * * C#m 5 8 11 ( G# C# F# ) ascend F#7 3 6 9 ( A# D# G# ) ascend Bmaj 9 5 1 ( C# F# B ) C#m 5 8 11 ( G# C# F# ) ascend F#7 3 6 9 ( A# D# G# ) ascend Bmaj 3 6 9 ( D# G# C# ) C#m 5 8 11 ( G# C# F# ) ascend F#7 3 6 9 ( A# D# G# ) descend Bmaj 6 9 5 ( G# C# F# ) C#m 5 8 11 ( G# C# F# ) ascend F#7 3 6 9 ( A# D# G# ) same Bmaj #7 3 6 ( A# D# G# ) * * * * * * * C#m 5 8 11 ( G# C# F# ) descend F#7 6 9 5 ( D# G# C# ) descend Bmaj 9 5 1 ( C# F# B ) C#m 5 8 11 ( G# C# F# ) descend F#7 6 9 5 ( D# G# C# ) same Bmaj 3 6 9 ( D# G# C# ) C#m 5 8 11 ( G# C# F# ) descend F#7 6 9 5 ( D# G# C# ) ascend Bmaj 6 9 5 ( G# C# F# ) C#m 5 8 11 ( G# C# F# ) descend F#7 6 9 5 ( D# G# C# ) descend Bmaj #7 3 6 ( A# D# G# ) * * * * * * * * * * * * * * C#m 6 9 5 ( A# D# G# ) descend F#7 9 5 1 ( G# D# F# ) ascend Bmaj 9 5 1 ( C# F# B ) C#m 6 9 5 ( A# D# G# ) descend F#7 9 5 1 ( G# D# F# ) descend Bmaj 3 6 9 ( D# G# C# ) C#m 6 9 5 ( A# D# G# ) descend F#7 9 5 1 ( G# D# F# ) same Bmaj 6 9 5 ( G# C# F# ) C#m 6 9 5 ( A# D# G# ) descend F#7 9 5 1 ( G# D# F# ) ascend Bmaj #7 3 6 ( A# D# G# ) * * * * * * * C#m 6 9 5 ( A# D# G# ) same F#7 3 6 9 ( A# D# G# ) ascend Bmaj 9 5 1 ( C# F# B ) C#m 6 9 5 ( A# D# G# ) same F#7 3 6 9 ( A# D# G# ) ascend Bmaj 3 6 9 ( D# G# C# ) C#m 6 9 5 ( A# D# G# ) same F#7 3 6 9 ( A# D# G# ) descend Bmaj 6 9 5 ( G# C# F# ) C#m 6 9 5 ( A# D# G# ) same F#7 3 6 9 ( A# D# G# ) same Bmaj #7 3 6 ( A# D# G# ) * * * * * * * C#m 6 9 5 ( A# D# G# ) ascend F#7 6 9 5 ( D# G# C# ) descend Bmaj 9 5 1 ( C# F# B ) C#m 6 9 5 ( A# D# G# ) ascend F#7 6 9 5 ( D# G# C# ) same Bmaj 3 6 9 ( D# G# C# ) C#m 6 9 5 ( A# D# G# ) ascend F#7 6 9 5 ( D# G# C# ) ascend Bmaj 6 9 5 ( G# C# F# ) C#m 6 9 5 ( A# D# G# ) ascend F#7 6 9 5 ( D# G# C# ) descend Bmaj #7 3 6 ( A# D# G# ) * * * * * * * * * * * * * * Some melodic ideas for quartals! 1. Simple arpeggiation can sound terrific (especially when each chord only gets two beats) 2. Play the following very rapidly in succession over Cm7 Bb F C C G D Eb Bb F F C G G D A Bb F C G D A F C G Eb Bb F C G D Bb F C Immediately obvious to any casual observer is the fact that all of the above notes fall into C dorian. 3. Another way to use quartals in a melodic sense is to utilize the "mega-scale" concept. What if we had up a scale that was all made up of perfect 4ths??? How about this one: E A D G C But HEY! Do you notice what I notice? If you rearrange those notes, it's the pentatonic scale! ( C D E G A ). And as all musicians know, YOU CAN USE THE PENTATONIC SCALE OVER ALMOST EVERYTHING! * * * * * * * * * * * * * * Here are some great comping ideas for quartals (mostly for keyboard): 1. Play different quartals in the right and left hands (using contrary motion when possible). This gives a fuller chord texture and provides more harmonic interest. example (in C): Dm (ii minor) LH: 9 5 1 ( E A D ) RH: 11 b7 b3 ( G C F ) = 1 b3 5 b7 9 11 G7 (V7 domin) LH: 3 6 9 ( B E A ) RH: 9 5 1 ( A D G ) = 1 3 5 9 13 CMaj7 (Major7) LH: 6 9 5 ( A D G ) RH: 9 5 1 ( D G C ) = 1 5 6 9 2. Rootless chords in one hand - quartals in the other. Mix and match. 3. Subsitute quartals in the left hand instead of rootless chords. 4. If you don't have a bass player, play your standard walking bass in the left hand and the appropriate quartals in the right.
wutrain -- 11/19/2006, 08:39:07 -- #31294

can anyone give me an example of a funky bass line?
wutrain -- 11/19/2006, 08:39:19 -- #31295

dorian i mean..
Wee Gee -- 04/01/2007, 12:41:44 -- #34330
Thanks Ben ...
... not sure if anyones still checking this thread out (4-5-2006!) but anyway thanks again Ben - that's REALLY useful - a great sound! I didn't notice any of the original inner tones violating the C dorian though ...? Grant
glynn -- 07/29/2007, 06:52:39 -- #36106
Songs using quartals
anyone got any songs for me to check out which use quartals so I can listen to them used correctly in context? Also I am really interested in the use of quartels as a pose to the tertian harmony, can I use quartels for standard jazz tunes?
Connecting Chords With Linear Harmony, by Bert Ligon
Scot -- 07/29/2007, 11:37:01 -- #36110

Check out just about anything Chick Corea recorded, especially around the Return to Forever time. Friends is also a great recording. He took the quartal idea to a new level.
olamide -- 08/04/2007, 07:01:54 -- #36208
I need a teac
HELLO I SOME ONE TO TEACHER ME JAZZ PIANO
smg -- 08/08/2007, 15:48:21 -- #36275

can I use quartels for standard jazz tunes? Above you see where minor/major/dom are used as categories for the quartal voicings;you can apply this to tunes directly(look further on down in 7's file for where he talks about Dm/G7 in quartal terms to see how this concept works)...some more modern songs/players already use these types of sounds as a basis for their style...
albetan -- 08/09/2007, 07:36:09 -- #36291

See lesson Quartal Voicings at Albetan's Area.
Axool -- 11/07/2007, 06:27:51 -- #38258
thank you
Great material. Thank you so much.
7 -- 11/23/2007, 22:52:42 -- #38531

I appreciate you appreciation. Over in Albetan's Area there is some additional info on Quartals. 7
Connecting Chords With Linear Harmony, by Bert Ligon
Scot -- 11/28/2007, 22:00:06 -- #38610

I appreciate you appreciating someone's appreciation of your appreciation of quartals.
7 -- 12/01/2007, 15:16:29 -- #38682

ditto :)
dapostle -- 12/08/2007, 02:42:15 -- #38845
Quartals...
HEllo. I am new to the world of jazz. I played some of these quartals and they sounded geat. However, how do I apply them in jazz theory. I know traditional music theory and I think I know the answer but want to be sure. Is this also what voicing is??? Thanks.. Gerald ghawtho528@aol.com
njaka -- 01/26/2008, 03:07:46 -- #39982
help
Hi, can someone give me some explanations about quartals, how to use it? BR, njaka
ilunga -- 11/05/2008, 13:39:44 -- #43004
confused guys plz............
Can you plz explain to me how to exercise withj the quartial...
7 -- 12/08/2008, 22:14:55 -- #43212

Sub the progressions listed above for any ii-V-I. Try playing the "melodic ideas for quartals".
Connecting Chords With Linear Harmony, by Bert Ligon
learnpiano -- 10/31/2010, 22:33:32 -- #47909

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