Quartals
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:
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: 23783
Thanks guys. I might give that a try, if I can come up with enough stuff to make it worthwhile. Ben Blau...
Message number: 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...
Message number: 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...
Message number: 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!...
Message number: 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 ...
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 CMa...
Message number: 19406
Terrtian harmony is achieved by stacking major and minor 3rds, quartal harmony is made of stacking 4ths.
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 und...
Message number: 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 "na...
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 a...
Message number: 17617
[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...
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 ...
Message number: 17099
[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...
Another example
[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...
Quartels
[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...
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...
Message number: 12049
Plese go to search engine (upwards) and write: "quartal voicings" selecting "files". It will help a lot.
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