Dictionary.com defines a quart as a unit of liquid measure of capacity equal to one fourth of a gallon. The Latin root “quarta” means fourth. From these definitions, we can conclude that quartal harmony in harmony built off of pitches that are intervals of a fourth apart from each other (as opposed to tertial harmony – pitches that are thirds apart).
The concept of quartal harmony can be applied in many ways on the piano. One application would be to combine quartal harmony with the study of modal scales. This is a good way to get aquanted with quartal harmony at a beginning level. Start by playing three pitch left handed chords on the piano that run through the Ionian scale. Voice the core scale tones in the bottom of the chord and stack two pitches (a fourth apart) above that. Keep all of your chord tones diatonic to the Ionian scale. Then try to apply this technique to the other modal scales.
The concept of quartal harmony can be applied in many ways on the piano. One application would be to combine quartal harmony with the study of modal scales. This is a good way to get aquanted with quartal harmony at a beginning level. Start by playing three pitch left handed chords on the piano that run through the Ionian scale. Voice the core scale tones in the bottom of the chord and stack two pitches (a fourth apart) above that. Keep all of your chord tones diatonic to the Ionian scale. Then try to apply this technique to the other modal scales.
Once the above technique is mastered, you can expand on it by playing two handed five pitch voicings. Ionian mode tends to lend itself to playing two pitches in your left hand and three in your right hand. Dorian tends to be more comfortable with the opposite arrangement (three pitches in your left hand and two in your right). You should explore each mode and find the chord arrangement that is most comfortable for you.
Another application is to attempt to voice full seventh chords with roots and upper extensions. When voicing these chords, it is impossible to maintain an interval of a fourth between every pitch of the chord. One should attempt to form as many fourth intervals as possible while accurately representing the necessary chord tones to clearly define the chord.
Another application of quartal harmony is to form rootless voicings that contain upper extentions. When voicing these chords, it is sometimes possible to maintain an interval of a fourth between every pitch of the chord. Again, it is important to accurately represent the necessary chord tones in order to clearly define the chord.
Another exercise that can be useful in identifying quartal voicings is forming five part diatonic harmonies built down from the top pitch. With major seventh chords, a quartal voicing can be built down from every pitch of the major scale except the 4th (since it is an avoid tone). With minor and dominant seventh chords the options are more limited.
Another exercise that can be useful in identifying quartal voicings is forming five part diatonic harmonies built down from the top pitch. With major seventh chords, a quartal voicing can be built down from every pitch of the major scale except the 4th (since it is an avoid tone). With minor and dominant seventh chords the options are more limited.
The tasteful and musical use of quartal voicings can provide much needed variety to our harmonic pallet. When keyboard players can add these modern sounding harmonies to their pallet they can more easily express a wide range of sound and emotion. I continually look for new voicings and styles to study in order to expand my performance technique.
This Learning Music With Ray video discusses quartal chord voicings. In the video, I explain what quartal harmony is and how it can be applied to piano chord voicings. I provide visual examples of these voicings written on a musical staff. Finally, I demonstrate these applications of quartal voicings by playing them on the piano.
This Learning Music With Ray video discusses quartal chord voicings. In the video, I explain what quartal harmony is and how it can be applied to piano chord voicings. I provide visual examples of these voicings written on a musical staff. Finally, I demonstrate these applications of quartal voicings by playing them on the piano.
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