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Jazz Lessons -- Quartalspost message
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Quartals, as written by our esteemed 7

You must login or Create a Free Account for full access.
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.

messages: display newest first - (show all)oldest first - (show all)
7 p -- 12/08/2008, 22:14:55 -- #43212
Sub the progressions listed above for any ii-V-I.

Try playing the "melodic ideas for quartals".
 
ilunga -- 11/05/2008, 13:39:44 -- #43004
confused guys plz............

Can you plz explain to me how to exercise withj the quartial...

 
njaka -- 01/26/2008, 03:07:45 -- #39982
help

Hi,

can someone give me some explanations about quartals, how to use it?

BR,
njaka

 
dapostle w -- 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

 
7 p -- 12/01/2007, 15:16:29 -- #38682
ditto :)
 
Scot w p -- 11/28/2007, 22:00:05 -- #38610
I appreciate you appreciating someone's appreciation of your appreciation of quartals.
 
7 p -- 11/23/2007, 22:52:41 -- #38531
I appreciate you appreciation.

Over in Albetan's Area there is some additional info on Quartals.

7
 
Axool -- 11/07/2007, 06:27:50 -- #38258
thank you

Great material. Thank you so much.

 
albetan w -- 08/09/2007, 07:36:09 -- #36291
See lesson Quartal Voicings at Albetan's Area.
 
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...
 
olamide -- 08/04/2007, 07:01:54 -- #36208
I need a teac

HELLO I SOME ONE TO TEACHER ME
JAZZ PIANO

 
Scot w p -- 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.
 
glynn p -- 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?

 
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

 
wutrain -- 11/19/2006, 08:39:19 -- #31295
dorian i mean..
 
wutrain -- 11/19/2006, 08:39:07 -- #31294
can anyone give me an example of a funky bass line?
 
DrJazz -- 04/05/2006, 19:02:24 -- #26091
 
sdm w p -- 02/03/2006, 11:48:56 -- #23789
 
Ben Blau -- 02/03/2006, 11:32:25 -- #23787
 
Ben Blau -- 02/03/2006, 11:04:10 -- #23783
 
Ben Blau -- 02/02/2006, 11:42:47 -- #23743
 
groyann w p -- 02/02/2006, 10:57:18 -- #23740
 
Barry -- 02/01/2006, 19:33:08 -- #23722
 
7 p -- 02/01/2006, 13:00:14 -- #23701
 
7 p -- 02/01/2006, 12:09:33 -- #23699
 
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