2011 Barry Liesch

ch8 Quartals I

1
Chapter 8

Quartals I
17 pages
37 examples
OUTLINE
Quartal Chords (258)
Using Added Seconds and Quartals
Quartal Chord Substitutions
Two Consecutive Quartals
Walking Up the Bass with Quartals
Quartal Substitutions: Try it!
Chromatic Quartals
Answer

REPERTOIRE
More Precious Than Silver
Holy, Holy, Holy
Spirit of God Descend Upon My Heart
Refiner's Fire/Great is the Lord
Sing Praise to God Who Reigns Above
O Worship the King
Joyful, Joyful
How Firm a Foundation/Spirit Song
Great is Thy Faithfulness
The Solid Rock
O Come All Ye Faithful
Angels We Have Heard on High
Immortal Invisible/Change My Heart, O God

In this chapter we continue to build on the added seconds learned in the previous chapter,
but our focus will turn more to the introduction of quartal chordschords comprised of
perfects fourths.
Like added seconds, quartals are useful when playing congregationally, accompanying
soloists, improvising in a band, and when soloing. They have wide applicability.
The color (sound) of quartal chords, however, is distinctly unique, modern, and instantly
recognizable. Think of them as a coloristic enhancement to traditional harmony and
contemporary practice. They need not disrupt or jar the basic sound structure.
We'll work directly from the published versions of hymns and choruses and show you
how to modify them. You'll get practice creating your own versions.

Quartal Chords (258)

Traditional harmony is tertian (composed of thirds). Quartal harmony, as mentioned
above, is composed of intervals of a "perfect fourth." Let's look at our C2 chord and its
inversions.
Notice the second chord below (2,5,8) has a sound distinct from the other two. For this
reason, we've given it the symbol C2Q, which means it can be derived from a C2 chord,
and that it is composed of perfect fourths (quartals or "Q").

2011 Barry Liesch

ch8 Quartals I

Example 8.1

C2

C 2Q

125

258

& __

582

Chords typically take their name from the root note (C above). However, in the second
chord above, the lowest tone (D) is an added second (a color note), while the soprano is
the root. Because the soprano functions as the root, we must call it a C2Q, not a D2Q.
Major quartal chords frequently occur on scale degree I, IV, or V. The root, third, or fifth
of the chord can be in the bass.
Example 8.2

l &
l
l?
I
l

C 2Q

l
l
l
l IV

F 2Q

l
l
l
lV

G 2Q

!
!
!
!

Practice writing quartals. Replicate the example above in the keys of A and E. Keep the
root in the soprano. Supply the appropriate pop symbol.
Example 8.3 Write it! Quartals with the Root in the Bass

###

Key: A

l&
l ##
l? #
I
l

####

Key: E

l
l
l
l IV

l
l
l
lV

!
!# #
! ##
I
!

Example 8.4 Write it! Quartals with the Third in the Bass

l
l
l
l IV

l
l
l
lV

Practice writing quartals in the right hand with the third in the bass (already supplied).
Keep the root in the soprano. Indicate the appropriate Pop symbol.

!
!
!
!

2011 Barry Liesch

b
b
&

l
l
l ? bb
I6
l

ch8 Quartals I

l
l
l
l IV6

bbb
!
!

! bbb
I6
!

l
l
l
l V6

l
l
l
l IV6

Quartals function similarly to added second chords, as demonstrated below.

!
!
!
!

l
l
l
l V6

Example 8.5 Perform it! Test the Sound

*
*

l & l _ __
l
l
l? l
l
l

_ l
l
l
l
*

l
l
l
l

Example 8.6 Quartal Exercise (Play through Cycle)

l
l
l
l
*

!
!
!
!
*

This exercise should help make the process of learning the quartal chords easier.
C 2 E C 2Q E

44
l & __
l 4
l ? 4 _ _
l

b
b
l l b__ _
l
l

l b l
l
l
F

b b
b

b_
l b l b
!
etc.
l
l
!
b

b l
l b !
l
l
!

Using Added Seconds and Quartals

Example 8.7 Hymnbook Version of More Precious Than Silver

&b c

..
l
l
Lord,
_ .
l b c .
l?
I

.
l
You l are.
l _ .
l
V6

l
more l
_
l
l

l .
_ _
_ .
pre- cious than l s i l- v e r
l .
.
l
IV6

I6/4

l _ ..
l Lord
l .
l
I

!
!
!
!

2011 Barry Liesch

ch8 Quartals I

Notice (above) the movement in the bass (F-C). Bass lines are so important in creating
beautiful music. Recast this excerpt with added seconds and quartals, placing single bass
notes in the left hand and three or four note chords in the right hand. When you're done,
look below.
Example 8.8 Quartal and Added Second Substitutions (More Precious Than Silver)
C2 E

B b 2Q D

... l . l w
_ _ __ ..
_w
l
l
Lord, You are more pre- c i o u s than
l w
. l w
l
l

b c
l&
l
l
c
l?b

l_
_ _
l s i l - ver
l
l

B b2 D

C2 E

_ l _ ... !
_
_ .
_
l Lord !
l . !
_ _ l . !
_
_
_
_

Focus on the last two added second chords above. They act as a kind of fill, walking up
from C to F (in the bass). Notice the bass and soprano notes are both doubled, which
gives the chords strength and warmth. This "walking up" clich can be used effectively
again and again. Memorize the feel of walking up the scale with added seconds.
Improvise! Play (and sing) the above example in the keys of E, F, and G.
Example 8.9 Hymnbook Version of Holy Holy Holy
The hymnbook harmonization below has nice voice-leading qualities. Let's keep the
same basic contour, but incorporate added second and quartal chords into the texture.

c
l&
l
l c
l?

__

l & _
l
#
l
l?

__

_ _ l _ _ _ l __ _ _
l
l

l l
l
l

l _ _ ..

l
l # ..

w
l_
_j l _w
_
l
l
j l l
lw
l

l _ l ..
l _
l
l l ..
l
l
_
_

j l
l
l
J
l

_ _ l _ _ _ !
l
!

!
l
l
!

Do you like the quartal modification of Holy, Holy, Holy below?

2011 Barry Liesch

ch8 Quartals I

Example 8.10 Play it! Quartal Modification of Holy Holy Holy

c
l&
l
l?c
l
l&
l
l?
l

G 2Q B

A mi2

C2 E

C2Q E

__

_ #

l
_ _ _
_ _
l
l

l_
_
l
l
l

_
_
_ _
_ _
___ _

l _
l
l
l

F 2Q A

.
_ .. j l _
l

_ l
l

C2 E

G2Q B

l _ _
l __ _
_
_
l
l
l . J . j l . j
l
l

2
F 2 A G B C 2Q

_
_
_
___ __

l_
_ _
_ _ _
_
l
l
l

l
l
l
l

G 2Q F

_ l
l
l
l

C2 E

!
!
!
_ _
_ !

_
_

_
__

Notice (above) that in measure six a substitute quartal chord makes possible the rising
bass line (E, F#, G). In measure eight the bass walks up to C, using two consecutive
added second chords. Remember these ideas.

Quartal Chord Substitutions

Now let's apply quartal chords (also called "fourth chords") to some hymn and chorus
fragments. Below, change the chords to fit the written-in symbol substitution.
Example 8.11 Refiner's Fire

#### 4
4
l&
l
l #### 4
4
l?

Re

- fin - er's

l
l
l
l

_www

fire

l
l
l
l

my

A 2Q C #

heart's

one

de

B2 D #

l _ ...
l- sire
l .
l

!
!
!
!

2011 Barry Liesch

ch8 Quartals I

Example 8.12 Great is the Lord

6
l&8
l
l
l ? 68
l

_
_ ..

Great

F 2Q A

_
_ ..

is

the

Lord,

Example 8.13 Shout to the Lord

### 4
l& 4
l
l # # # 44
l?

he

A 2Q C #

l
l
l
l
l

is

A D

G2 B

_
_ ..
ho

- ly

and

_
_

just

D E

. l .
.
_
_ ..
_ _ .
_ _
_
l let us sing
Shout to the Lord,
all the earth
l
.
j .
_j _
_j l _ .

Below, can you create a quartal chord on the word "thanks?"

Example 8.14 Be Exalted, O God

c
l & _ l
l
l
I will
l c l
l?
l

F C

__ ... j l __ ... !
l
!
give thanks t o Thee,
O
l
!

.
l
!
__

The harmony goes from a C to an F/C to a C chordwith a pedal (C) in the bass.
Idea: whenever you see the root of a major triad in the soprano, a quartal chord
substitution is probably a possibility. Above, the root of the F chord is in the soprano.
An F quartal chord substitution (below) results in a more modern sound.

!
!
!
!
!

!
!
!
!

2011 Barry Liesch

ch8 Quartals I

Example 8.15 Quartal Substitution (Be Exalted, O God)

F2Q A

4
l & 4 _ l _
_
l
l
I will give
l 44 l
l?
l
C

.. _j l
_
_ . _
l
thanks to
l
. j l

Try it! Play the above in D and E major.

!
!
O
!
!

_ ..
_
.

thee,

Below, a two-measure excerpt is repeated. Could a quartal substitution be integrated into

the first two measures? Yes. The first step involves sensing that the F chord (of measure
four) could be substituted for the G7/B (measure two).
Example 8.16 F Substitution (Spirit of God Descend Upon My Heart)

c
l&
l
l?c
l

_
_

_
_

_
_

G7 B

l_
_
l
l
l

_
_

!_
_
!
!
!

_
_

_
_

l_
_
l
l
l

_
_

!
!
!
!

The second step involves replacing the F triad above with an F quartal (as below).
Quartals with the third in the bass sound particularly good. A nice bass line (A !C) can
be fashioned by restating the G7 first inversion chord (m2. above) after the quartal.
Example 8.17 Quartal Substitution (Spirit of God Descend Upon My Heart)

c
l&
l
l c
l?

_
_

_
_

_
_

l
l
S p i r- i t o f
l
l

F2Q A G 7 B C

_
_
_ _
_ _

God

de

Try it! Play the excerpt above in the key of D.

l _ __ _
l
- scend up - on
l
l

_ l _ __ #__
l heart
my
l
l _

Modify the harmony, below, by playing the pop symbols as an alternative.

!
!
!
!

2011 Barry Liesch

ch8 Quartals I

Example 8.18 Sing Praise to God Who Reigns Above

## 3
l& 2 _

_
_

l
Sing
l # 3
l? # 2

##

l&
l
l #
l? #

God

D2 F # D2Q F#

_ _
l _
_ _ _
l praise to God
l

l

_ _ _

of

all

l _ _
_
l
-a
tion
l

!
!
!
!

who

cre

Example 8.19 Great is thy Faithfulness

l
l reigns
l
l

## 3
& 4

B.

&
C.

&

##
##

Great

is

l .

Thy

faith - ful - ness

A 2Q C #

G D

l .

Great

All

is

Thy

E2 G # A G

have

faith - ful-ness

D 2Q F #

need

- ed

Thy

God

the

G 2Q B

.
#_

a - bove,

A.

B 2Q D #

A 7 C#

my

B2Q D #

G D D

is

hand

has

faith - ful -ness

Thy

7
D2 F # A E D

fa - ther

l .

Great

Em

pro

j l
l
l
l

- vi - ded

2011 Barry Liesch

ch8 Quartals I

Example 8.20 The Solid Rock

# 3
& 4

G 2Q B G C E m C #

When He shall come with

G D

Am C

D G F C2Q E

may I then in

trum-petsound O

CD

l !
Him be found

Two Consecutive Quartals

Example 8.19 Consecutive Quartals That Walk Up to D Chord (Joyful, Joyful)

## 4
l& 4
l
l # 4
l? # 4
l

_
_

Joy - ful,

A 2Q C #

G 2Q B

_
_

joy - ful,

l
l
l
l
l

_
_

_
_ !
!
we
a - dore
thee
!

_ !
!

_
_

_
_

Example 8.20 Consecutive Quartals That Walk Up (Great is Thy Faithfulness)

## 3

l& 4
l
l
l # # 34

_ l _
l&
_
l # 3
l

#
l? 4
l _
_
l
l_

G 2Q B A 2Q C # G D D

_
_

_
_

_
_

l .
l _ ...
l
l _
l

_
_

B 2Q D # E m

A 2Q C #

_ l #_
_
l
n l
n_
_ l _
_

l .

_ _
#
_
_ #_

l _ ...
l
l _
l

Example 8.21 Consecutive Quartals That Walk Up (The God of Abraham Praise)
2Q
2Q
2
Em B D # E m D A C # B D # Em

# 4
& 4 _ l
The God

of

A - braham

Am C

.
l

praise, who

reigns

C2Q E

en - throned

D 2Q F #

!
!
_ !
!

- bove

Let's look at a piece where the quartals walk up but do not sound the melody. Notice, the
melody is embedded in an inner part.

2011 Barry Liesch

ch8 Quartals I

10

Example 8.22 Melody in Inner Part of Quartals (Spirit Song)

## 4
l& 4
l
l # # 44
__
l&
l # 4
l? # 4
l
##

l&
l
l ##
l&
l #
l? #
l

love.

_
_

C 2Q E D2Q F#

let

the

A 2Q C #

Let

B 2Q D #

him

. J . J

Son

l . j . J l

of God en - fold you with his

ww
l ww
l w
l
l

l
l
l
l

w
l ww
l
l w
l

sat

l
l
l
l

l
l
l
l

l . j . j l
fill your heart and

__

- is

Spir - it and his

w
__www
w

G 2Q B A 2Q C #

- fy

_
_

your

l
l
l
l

Try it! Sing and Play. Close the book and play the excerpt by memory.

l w

D sus

soul.

ww
_
_ww
w

l
l
l
l

!
!
!
!

Example 8.23 Melody in Inner Part of Quartal (O Worship the King)

# 3
l& 4
O
l
#
34
l
&
l
l # 3
l? 4
l

C2Q E

wor - ship

l
l
l
l

D 2Q F #

the

King,

l
l .
l
l

all

C 2Q E

glo - rious

l
l
l
l

- bove

l
l
l
l

!
!
!
!

2011 Barry Liesch

ch8 Quartals I

11

Example 8.24 Memorize! Play through the Cycle (Up a Fourth or Down a Fifth)

44
&
l
l 4
l?4
l

B b 2Q D C 2Q E

b
_

IV6

V6

F ma7

l b b__
l _
l

l I7
(V)

__

l __
l
l b
l

IV6 V6

I7

bb b l b b bb b b l b
b_ _
Etc.
l
l
b

l b
l
l
l

!
!
!
!

Quartal Substitutions: Try it!

Example 8.25 Create Two Quartal Substitutions (How Firm a Foundation)

# 2
l& 2 _
_ l _

l
l
How
l # 2
l firm
l? 2
l

l_
_ _ l
l
l
a found - a - tion you
l
l saints
l
l

_
_

_
_

_ l _

_
l _
of the
l Lord

Example 8.26 Create Quartal Substitutions (Christ the Lord is Risen Today)

!
!
!
!

Write into the score a quartal chord substitution for measures 1, 2, and 3. Label each with
pop symbols. Don't change any bass notes. Play/Compare the alternatives.

c
l&
l
l
l?c
l

l
_
_ _ _ _ _ _
_ _
l risen to - day ! Sons of
Christ the Lord is
!

l
!
l
!

l !
_ _ _ _ _ _
l an - gels say !
men and
!
l
l
!

l
!

Example 8.27 Revoice, Solve, Invert (O Come All Ye Faithful)

See a hymn-like version of O Come All Ye Faithful. Rewrite it. Insert added seconds or
quartal chords where asterisks occur. Revoice the piece so that single bass notes occur in
the bass clef (left hand) and three or four note chords occur in the treble clef (right hand).
Feel free to change the inversion of chords. You may need to change the chord itself.

2011 Barry Liesch

l&
l #
l?
l
#
l&
l #
l?
l
#

c
_ l _
l
c l
l
*

l&

l #
l?
l
*

ch8 Quartals I

_ l
l
l
l
*

#_

l
l
l
l

_ _ l

l
l

l l
l
l

l
l
l
l
*

12

l
l
l
l

_ ...
.
.

__j

l _
l
l # #
l

l .
l .
l
l

l __ww
lw
lw
l

_ l
l
l
l

l
l
l
l

j !
j !
!
!

Write your solution into the score above. Maintain the melody. Play/Compare each
version (traditional and revised).
Example 8.28 Create Three Alternatives (O Worship the King)

Below, the first line of O Worship the King is repeated three times. Create three versions
of the excerpt, incorporating added seconds and quartals. Write into the score. Label.
Dsus
# 3

l & 4 l _ .. l .. l ..
l
l
l w o r- ship t h e l King, a l l l glo- r i o u s a -l bove, And
O
l # 34 l
l
l .
l
.
.
?

l
l
l
l
l Vsus

!
!
!
!

2011 Barry Liesch

# 3
l& 4
l
l ? # 34
l
# 3
l& 4
l
l ? # 34
l
# 3
l& 4
l
l ? # 34
l

ch8 Quartals I

l
l
l
l

l
l
l
l

l
l
l
l

l
l
l
l
l
l
l
l
l
l
l
l

13

l
l
l
l
l
l
l
l
l
l
l
l

l
l
l
l

!
!
!
!

l
l
l
l

!
!
!
!

l
l
l
l

!
!
!
!

Chromatic Quartals

Example 8.29 Quartal Secondary Dominants in First Inversion (Play in All Keys)
Notice the powerful chromatic, half-step movement in the bass.

l & _ _ _ # #_
l
l ? c # #
l
I
ii
bbb
b
l& b
l
l ? bbbbb
l

l
l
#
l
l iii
IV

n n l
_
l

n
l
l iii
I
ii

IV

l
# l b n
l
l bVII
vi
_
l n
l
l n l b_ n_
l
l
l V
l bVII
vi

l #
l
l
l V

!
_ !
!
!
I
_

!
_ !
!
!
I

2011 Barry Liesch

ch8 Quartals I

14

Example 8.30 Change My Heart O God (Play in All Keys)

4
l&4
l
l 4
l?4 I

2Q
C ma7 A C #

_ _

Change my heart,

I7

V6/ii

l
l
l
l

D m7

l

l make it
l
l V

__www

God,

ii7

Example 8.31 Change My Heart O God

F2Q A

G 2Q B

__

__

IV6

V6

ev - er

C ma7

l __ww
w
l true
l w
l I7

!
!
!
!

44
_j . __jJ l __w __ __ __ __ l __ _j . __j l __ww
l&
!

w
l
l _ _
l
l
!

l 44
l
l
l
!

l?
l _
l
l __
!

Play it! Play as is; then Integrate quartals into the rhythmic texture above.
Example 8.32 Immortal Invisible (Play in All Keys)

# 3
l& 4
l
l # 3
l? 4

..
_ .

!
!
!
. !

G 2Q B

_
_

Im

A 2Q C #

_ _ _
l _

l- mor
-tal, in
l
l #
IV

C2 E

Dsus13

D7

__ l _ __ l _
l_
_
l- vis - i - ble, l God on - ly l wise
l
l
l
l
l
l
D

Vsus13

Below, change the harmonies into quartals as indicated in the pop symbols.

V7

!
!
!
!

2011 Barry Liesch

ch8 Quartals I

15

Example 8.33 Infant Holy, Infant Lowly

# 3
l& 4
l
l # 3
l? 4
#

l&
l
l?#
l

G 2Q B

swift

l __

l wing
l
l

are

_
ring

A 2Q C #

__

- ing

V6/V

ing,

tid

vi

l
l
l
l

an - gels

C2Q E

__

__

sing - ing,

l
l
l
l

No - els

V6/vi

l
l bring
l
l

ings

B 2Q D #

ing

It is possible to have a terrfic idea, but for it not to be appreciated. For example, without
some help, some musicians may not be able to imagine what quartals can offer, how to
represent the sound symbolically, or how and where to employ them. I hope your
understanding has increased and that this chapter has convinced you that quartals could
be an effective resource in your worship playing. I also hope you find the quartal
symbol, unique to this book, to be elegant and useful. But there is still more.

!
!
!
!

Example 8.34 Quartal Secondary Dominants in Root Position (Play in All Keys)
This exercise helps you to internalize quartal chords in root position, demonstrating that
quartal chords can function as a secondary dominant on every degree of the
scalepowerful! Practice in every key. We've given you a jump-start by writing it out.

l & _ _ l _ # #_
l
# l #
c
l? l
l
l ii
I

l #
l
l
l iii

l l #
b l _ #_ l _
l l
l IV
l V

#_

l
_
l_
l
l vi

l
b_
_ l b_
_ n_
_

l
l bVII

ww
w
l _w
_ww
l_
l
lI

!
!
!
!

2011 Barry Liesch

ch8 Quartals I

bb

l & b _ _ l n n l n l l n
_ l _
_ n_
_
_

b
_

_
l
l
l
l

l ? bbbbb n l n l l l
I
l
l ii
l iii
l IV l V
##
# # #

l&
l
_ _ l # l l
l # l l _ n_ l _ #_ l __ #__
l ? # # l # l l l
I
l
l ii
l iii
l IV
l V

16

l
_ b_
_
l_
l
l vi

l
l __ n__
l
l vi

Example 8.35 Angels We Have Heard on High (Play in All Keys)

B 2Q
B7

A 2Q
Em A 7

_

l _ _
_ n_
_
l b_
l
l bVII
_

l _ _
l n__ #__
l
l bVII

_ww
w
l _w
_ww
l_
l
lI
_ww
w
l _w
l __ww
l
lI

A C#
## 4

l __. _ _
l & 4 _ l _ _ l _
_ _
_
__ . _j _
l
l
l
l .
l # # 44 #
l
l
l

?
l
l
l
l
I
ii
I
D

Example 8.36 Change My Heart, O God

44
l&
l
l ? 44
l

A 2Q
A7

_
#

w
l_
_ww
l
lw
l

!
!
!
!

G2Q B

!
!
!
!

!
!
!
!

!
!
!
!

2011 Barry Liesch

ch8 Quartals I

17

Answer
Example 8.37 Added Seconds/Quartals (O Come All Ye Faithful)

G 2Q

c
l&
_
_
l #
l? c
l
#
l &
l #
l?
l

G2 B

l&

l #
l?
l

l _
l
l
l

D2 F #

G2 B

l_
_
l
l .
l

__ _
_

A2 C #

G 2Q B

l
_ _
_ _
_
l
l
_ _
l _ #_

__ ____
#
_

C 2Q E

l
l
l
l

_
_
_

_j _

l __
l
l
l

G2Q B D2 F #

__

__

l
l
l
l

B 2Q D #

l #_
l
#
l
l

l __
l
l
l

D2 F #

D2 F #

__ ....
.
A 2Q C #

_ _
#

The next chapter explores a wider range of quartals, and an extended project.

C 2Q E

l
l
l
l

__j_ l __ww
l _w
j l w
l

l
l
l
l

. j _
l_
_ .. #_
___
l _
l . J
l

!
!
!
!