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:
* * * * * * * * * * * * * *
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.
Thanks guys. I might give that a try, if I can come up with enough stuff to make it worthwhile. Ben Blau...
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...
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...
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!...
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 ...
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 CMa...
Terrtian harmony is achieved by stacking major and minor 3rds, quartal harmony is made of stacking 4ths.
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 und...
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 "na...
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 a...
[sf]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 i...
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 ...
[sf]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 mak...
[sf]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 qua...
[sf]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 han...
Hi to all! I don't know how to make jazz voicings Can anyone help me or give some models or some principles Thanks...
Plese go to search engine (upwards) and write: "quartal voicings" selecting "files". It will help a lot.
Volume 1 of this educational jazz piano book contains 15 jazz piano exercises, tricks, and other interesting jazz piano techniques, voicings, grooves, and ideas Scot Ranney enjoys playing.
Volume 2 has 14 jazz piano exercises and tricks of the trade, and quite a bit of it is Calypso jazz piano related material, including some Monty Alexander and Michel Camilo style grooves. Jazz piano education is through the ears, but books like this can help.
Volume 3 contains 12 jazz piano exercises and explorations by the acclaimed jazz piano educator, pianist, author, and recording artist Tim Richards.
Volume 4 is by Jeff Brent, a jazz pianist, composer, teacher, and author of "Modalogy" and other acclaimed jazz theory and education books. In this book Jeff shares detailed analysis of transcriptions of live performances. He covers everything from the shape of the songs to the tricks and licks he uses in improvised lines to the ideas behind his lush chord voicings.
Piano for Adoption Scam
Aprender Jazz en Piano
BEWARE: FREE BABY GRAND PIANO SCAM
Oh Tannenbaum for Jazz Piano
Volume 5 of the "Jazz Piano Notebook Series" is Available!
LearnJazzPiano.com File Downloads News