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. In this episode we decipher the whole mysticism behind "voicings in fourths", also called quartal harmony. 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. 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. "Quartal Harmony & Voicings for Guitar" by Tom Floyd is an excellent tool for anyone looking for hip grips to spice up their jazz repertoire. 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. Begin with C and simply stack fourths above each note of the scale in ascending order. For instance, the quartal chord, C–F–B ♭, can be written as Using Quartal Harmony on the guitar is a great way to tap in to the modern jazz chords. It’s because of the open sound created by the fourth interval. Like tertian chords, a given quartal or quintal chord can be written with different voicings, some of which obscure its quartal structure. Quintal chords, created by 5th intervals, have a similar effect. Step up the tension in your jazz piano with a quartal harmony voicing. Because of this relationship, any quartal chord can be rewritten as a quintal chord by changing the order of its pitches. 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. The first few voicings on Miles Davis' So What immediately come to mind when thinking about quartal chords. A good explanation of this is in the short booklet: Jazz Piano Comping: intermediate, by Tom Anderson. 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. 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. 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). Quartal chords In Action. These are not all quartal chords but they are interspersed with other voicing types. In this video I am going to show you how you can use quartal voicings on guitar to get a more modern jazz blues. 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 you are about to find out in a few moments, this awesome chord easily resolves to the next one. 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