Jazz Boot Camp - Quartal Harmony 101 - 2014-09-05 - Premier Guitar

Jazz Boot Camp: Quartal Harmony 101 | 2014-09-05 | Premier Guitar
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Home Jazz Boot Camp: Quartal Harmony 101
more... Intermediate Lessons Sound Samples Jazz Chords Rhythm Tab
Jazz Boot Camp: Quartal Harmony 101

Chip Henderson
September 06, 2014
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Its inevitable that at some point jazz guitarists will want to look for something outside of the standard harmonic repertoire and
begin investigating more interesting sounds. This desire for something new could evolve out of growing tired of ones
Chops: Intermediate
harmonic vocabulary or from encountering compositions that go beyond standard chord structures. One way to open the
Theory: Advanced
harmonic palette is by including quartal harmony.
Lesson Overview:
Learn the principles of
I first heard quartal harmony on recordings by Miles Davis and John Coltrane. Such pianists as Bill Evans, McCoy Tyner,
quartal harmony.
Chick Corea, and Mulgrew Miller were my introduction to these structures. I began to identify those same structures in the
Create quartal voicings
guitar playing of Jim Hall, Joe Diorio, Lenny Breau, Vic Juris, and Steve Masakowskias well as a number of other
on several string sets.
musicians. The openness of the chords, along with the tension they can create, was very modern to my ear and drew me into
Construct quartal
learning more. In this lesson, well look at the principles of constructing quartal harmony and how to incorporate these
harmony from the
voicings into your playing.
Mixolydian, Dorian, and
Aeolian modes.
First, lets define what were talking about. Quartal harmony is created when sonorities (or chords) are built using primarily
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fourths instead of the typical thirds. However, when using quartal harmony sometimes youll find a need to include another
interval, such as a fifth or a third. These other intervals are acceptable because a fifth is simply an inverted fourth, and the
inclusion of the third interval helps in defining harmonic movement within a key (such as a IImV progression), as well as
specifically defining a particular sonority relating to chordal alterations or extensions.
Click here to download a

printable PDF of this
lesson's notation.
Were going to cover quartal voicings for Mixolydian, Dorian, and Aeolian modes based on a common starting note. Our first mode is E Mixolydian (EF#
G#ABC#D), the fifth mode of A major.
Ex. 1 demonstrates a series of three-note voicings on the top three strings in E Mixolydian. These are presented ascending and descending, starting from the
lowest possible voicing. Ive also given the fingerings for the next adjacent string set as well in Ex. 2. Id encourage you to move these structures to the
remaining string groups too. If the beginnings and endings of some of the following examples seem unresolved, thats acceptable for now because here were
simply trying to get the shapes under our fingers and the sound in our ears.
Click here for Ex. 1

Next up are E Dorian (EF#GABC#D) in Ex. 3, and E Aeolian (EF#GABCD) in Ex. 4. Here, Ive given you just the top set of stringsits up
to you to transfer the voicings to the lower string sets. Also, its easy to expand these into four-note voicings. Simply add a note either a fourth below the
lowest note or above the highestdepending on where you are on the fretboard. Later in the lesson we will use some of these over a few common
progressions.

Before we move on, its important to note that even though we are looking at voicings specifically intended for E Mixolydian, E Dorian, and E Aeolian, there
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are other applications for this material. Any of these voicings can be used for other modes that appear in their respective keys. For example, the voicings for
E Mixolydian can be applied to any mode found in A Major: D Lydian, B Dorian, A Ionian, etc. The same applies for the modes associated with E Dorian
(key of D Major) and E Aeolian (key of G Major). The reason this works is due to the ambiguity of the structures and the lack of roots found in them.
Experiment with changing the bass note in which you play these voicings over. Now that we have investigated the modal application of these shapes, lets
look at how to incorporate them into functional chord progressions.
Once the basic horizontal movement of the quartal shapes is under your fingers, its time to investigate the vertical movements. In the following three
examples you can see how a quartal voicing moves across the fretboard, rather than up it. Fig. 5 covers E Mixolydian, Fig. 6 is in E Dorian, and Fig. 7 is E
Aeolian. Im using three-note voicings here because smaller structures are easier to move across the fretboard at a variety of tempos.

You should begin to see that quartal voicings have a chameleon-like quality to them, and depending on the context, can be perceived in a few different ways.
Check out the first chord in Ex. 8. Here, its being interpreted as a C6/9, but if we change the bass note it can also work as a F6/9, Am11, Dm11, D7sus4,
Gm11, Gsus(add9), or several others. I encourage you to take any voicing presented and experiment to find your own unique uses.
Lets carry this idea of a single structure wearing many hats a little further. In Ex. 8, we have the chord progression to the classic On Green Dolphin Street.
The voicings were intentionally kept on the top four strings to help you see the plurality of these structures. Experiment with other quartal structures to see if
you can retain the same shape on a particular string set.

So far we have been looking at modal examples, but now lets move into applying quartal voicings to IImVI progressions. Ex. 9 illustrates many ways to
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incorporate quartal harmony into a more functional progression that is found in countless jazz standards. The first eight measures are mostly diatonic, while
the final eight explore more altered sounds over the V7 chord. These examples are just the tip of the iceberg and you should experiment with them to come
up with your own variations.

Ex. 10 offers quartal harmony within the context of a minor 12-bar blues. In the first two measures Ill use shapes from E Dorian, and in measure five and six
Ill pull out voicings from A Dorian. I return to E Dorian in measure seven and finish with a typical IImV7 turnaround. Notice that many of the voicings are
similar and the bass line determines the harmonic movement.

The final example covers a bunch of major and minor IIV progressions. Ex. 11 borrows from the Autumn Leaves chord progression and once again
proves that context is king when it comes to quartal structures.
Notice the chromatic activity in measures two, three, and five, as well as the chordal sequence in measures 13 and 14. This helps outline the chordal
functions of the piece and gives the accompaniment forward motion.

As you can see, the uses for these voicings are almost infinite. In moving forward with this material, try finding ways to sneak these voicings into your
repertoire by mixing them in with your existing chord vocabulary. Dont forget that these can also be used as arpeggios to develop your melodic ideas as
well. Finally, to truly understand how the masters make these sounds work, devote some time to listening.
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Chip Henderson is a Nashville-based jazz guitarist, composer, arranger and educator. In addition to performing and teaching, Chip is a freelance arranger for
Hal Leonard. For more information go to chiphendersonmusic.com.
Recent Articles by Chip Henderson
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