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.
Ex: 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# F# B descends down to A# D# G...
quartal permutations... you state ascend descend and sometimes blank next a group e.g. C#m 6 9 5 ( A# D# G# ) descend F#7 9 5 1 ( G# D# F# ...
[sf]Quartals are a new concept in music. In C key: Dm7 (II) = g _ c _ f You have 3 fourths, containing 3rd (f) and 7th (c) o...
lz, i am realy confused as per this quartals of a thing, i don't understand how they are derived or applyied, plz cuold u through more light an m path? and...
Well, it seems like a pretty expansive topic. Lots of questions on it, and you are the guy to answer them :)...
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.
Tim wrote the well known "Exploring Jazz Piano" and "Improvising Blues Piano" books and has several others to his name.
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.
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