Quartals

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.

  Message number: 47909

Learn How To Play Piano Online - Free Piano Lessons Online, Online Piano Courses http://www.learntopianoonline.com...

10/31/2010, by 0 replies
  Message number: 43212

Sub the progressions listed above for any ii-V-I. Try playing the "melodic ideas for quartals".

12/08/2008, by 0 replies
  confused guys plz............

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

11/05/2008, by 0 replies
  help

Hi, can someone give me some explanations about quartals, how to use it? BR, njaka...

01/26/2008, by 0 replies
  Quartals...

[sf]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 tr...

12/08/2007, by 0 replies
  Message number: 38682

ditto :)...

12/01/2007, by 0 replies
  Message number: 38610

I appreciate you appreciating someone's appreciation of your appreciation of quartals.

11/28/2007, by 0 replies
  Message number: 38531

I appreciate you appreciation. Over in Albetan's Area there is some additional info on Quartals. 7...

11/23/2007, by 0 replies
  thank you

Great material. Thank you so much.

11/07/2007, by 0 replies
  Message number: 36291

See lesson [b]Quartal Voicings[/b] at Albetan's Area.

08/09/2007, by 0 replies
  Message number: 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 t...

08/08/2007, by 0 replies
  I need a teac

HELLO I SOME ONE TO TEACHER ME JAZZ PIANO...

08/04/2007, by 0 replies
  Message number: 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 ...

07/29/2007, by 0 replies
  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...

07/29/2007, by 0 replies
  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 ...

04/01/2007, by 0 replies
  Message number: 31295

dorian i mean..

11/19/2006, by 0 replies
  Message number: 31294

can anyone give me an example of a funky bass line?...

11/19/2006, by 0 replies
  Message number: 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 ...

04/05/2006, by 0 replies
  Message number: 23789

I took it home but didn't get to it last night. I love weekends!...

02/03/2006, by 0 replies
  Message number: 23787

By the way, did anyone dig the quartal technique I posted? Just curious. Ben Blau...

02/03/2006, by 0 replies
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