Begin with C and simply stack fourths above each note of the scale in ascending order. On a long Cm7 chord, for instance, you might play “C G” on the first beat, then play some quartal voicings in parallel motion for the duration of the chord. As the title of this post implies, quartal chords are really easy to use. Take a look at this dominant 7th(b13,#9) chord voicing: This G7(b13,#9) voicing gives that quartal harmony with the F, Bb (A#), and Eb played by the right hand. It’s not that you can’t play quartal voicings on the bass strings at the lowest frets, but you have to be careful not to let the harmony get too murky. Quartal chords can be used as 1-chords, as 4-chords, as passing chords … almost anywhere. These are not all quartal chords but they are interspersed with other voicing types. Like tertian chords, a given quartal or quintal chord can be written with different voicings, some of which obscure its quartal structure. In this episode we decipher the whole mysticism behind "voicings in fourths", also called quartal harmony. Using the position above for a II-V-I in F-major, quartal shapes can be inserted to make this progression a bit more modern sounding and hip. Quartal chords In Action. Quintal chords, created by 5th intervals, have a similar effect. As you are about to find out in a few moments, this awesome chord easily resolves to the next one. In this video I am going to show you how you can use quartal voicings on guitar to get a more modern jazz blues. A good explanation of this is in the short booklet: Jazz Piano Comping: intermediate, by Tom Anderson. Now all we need to do is construct the quartal harmonies generated by these two modes. The book begins by introducing quartal harmony by way of first reviewing tertian harmony for comparison. As with the 3/7 voicings, these voicings are convenient left hand voicings on the piano or three or four string voicings on the guitar. Because of this relationship, any quartal chord can be rewritten as a quintal chord by changing the order of its pitches. The idea behind quartal harmony is , every note is a fourth away from each other within the scale. For instance, the quartal chord, C–F–B ♭, can be written as First going over all the voicings available for each of the chords in the blues chord progression. Quartals can also be thought of as voicings for extended chords (9ths, 11ths, 13ths) and so therefore can be used as ways of voicing triads when you want to use triads with their tensions (extended notes). It’s because of the open sound created by the fourth interval. The first few voicings on Miles Davis' So What immediately come to mind when thinking about quartal chords. In the first part of the podcast, we discuss voicings built in fourths under all the notes of the C major scale, as their top notes. We will use four note voicings for the examples: C-F#-B-E, D-G-C-F#, E-A-D-G, F#-B-E-A etc. "Quartal Harmony & Voicings for Guitar" by Tom Floyd is an excellent tool for anyone looking for hip grips to spice up their jazz repertoire. Check out the following: To conclude this series on jazz comping we will look at a chord melody arrangement using this approach with quartal shapes. Using Quartal Harmony on the guitar is a great way to tap in to the modern jazz chords. Mixing of Standard Voicings and Quartal Shapes. 3. Quartal harmony is inherently dissonant— many would say deliciously so—and our ears are more willing to accept this restless, edgy sound in higher registers. Step up the tension in your jazz piano with a quartal harmony voicing. D-G-C-F #, E-A-D-G, F # -B-E-A etc video I am going to show how! Explanation of this is in the blues chord progression # -B-E-A etc in to the modern jazz.. The tension in your jazz piano with a quartal harmony on the guitar a... 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