Quartal Chord Voicings



"In music, quartal harmony is the building of chordal and melodic structures with a distinct preference for intervals of fourths... Use of the term arises from a contrast, compositional or perceptual, with traditional tertian harmonic constructions."

http://en.wilipedia.org/wiki/Quartal_and_quintal_harmony

Tertian harmony is achieved by stacking major and minor 3rds. Quartal harmony is made of stacking 4ths. You will find some great musicians sharing their tips here on Scot Ranney's site:

http://www.learnjazzpiano.com/citadel/archive/rooms/1074930061.htm

So, what are Quartal Chords?
C + F + Bb
F + Bb + Eb
Bb + Eb + Ab
Eb + Ab + Db
Ab + Db + Gb
Db + Gb + Cb
(or C# + F# + B)
Gb + Cb + Fb
(or F# + B + E)
B + E + A
E + A + D
A + D + G
D + G + C
G + C + F
If you're an advanced player, here are "Quartal Permutations over ii-V7-I Progressions, by "7":

http://www.learnjazzpiano.com/citadel/scotcit.mvc?room_id=1074930061&hall_id=107

Seriously, here's what I have found on the net that has helped me understand quartals
and how to teach them to my students. It's clear-cut explanation from Willie Myette, founder of Jazzpianolessons.com and Jermaine Griggs, founder of HearandPlay.com
* What are quartals?
* Quartal examples
Read Willie/s entire article on Rich Quartal Chord Voicings:

http://www.jazzpianolessons.com/blog/archives/10-Rich-Quartal-Chord-Voicings.htm

Jazz Piano Improv #1

Rootless Chord Voicing Lesson

Another great resource:
* What is a Quartal chord?
* Here’s how to use them

http://www.hearandplay.com/main/this-will-spice-up-your-major-chords-quaranteed

Play Quartals
My friend musallio has listed some great links:
QUARTAL CHORDS:

http://www.learngospelmusic.com/forums/index.php/topic,51999.0.html


http://www.learngospelmusic.com/forums/index.php/topic,177.0.html


http://www.LadyDpiano.com

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Understanding Jazz Chords


Learn Big, Rich Jazz Piano Chords

Understanding Jazz Chords


Jazz piano chords can sometimes be confusing at first glance. In this article, I am going to explain how jazz players usually interpret chords and pick tensions to create lush chords. Bear in mind, every musician has their own "tricks" that they use to form their chords. However, there are some basic harmonic concepts that you need to understand and I'll cover some of them in this article.

If you are looking for an instructional course on creating full chords at the piano, I'd suggest the JazzPianoLessons.com Piano Chords bundle. This three-DVD set covers both basic seventh chords along with advanced quartal voicings, tensions, alterations, upper-structure triads, rootless voicings and more.

Learn more about Jazz Piano Chords

Let's begin with a basic seventh chord for D-7. Example A is what a typical voicing of a D-7 chord might look like.

Example A



O.K., that's pretty simple, right? Now take a look at example B. Does this still look like a D-7 to you?

Example B



Labeling Chords


You might look at this chord and think F Maj7 or D-9. We can rule out F Maj7 because the root is a D. However, why didn't I label this chord D-9?

I did not label the chord as D-9 because it is common for jazz players to automatically add tensions to the chords that they are playing. Jazz players know which available tensions each chord can utilize. Personally, I'd rather see a chord written as D-7 than D-9 or D-9 (add 11). I think that many (not all) pianists would agree with me because as jazz players, we are accustomed to working from a "shell".

Basically, when I see D-7, I already know that the 9th and 11th are probably available to me. When looking at a lead sheet, especially in a low-light gig situation, I want the lead sheet to be as un-cluttered as possible.

The "Right" Tensions


You might be wondering, which tensions are the "right" tensions for a particular chord? Well, let's go through the three basic chords: Major, minor and Dominant 7th chords.

Major 7th available tensions are: 9, #11 or 6 (usually replaces the 7th)
Minor 7th available tensions: 9 and 11. 6 would replace the 7th.
Dominant 7th available tensions: b9, 9, #9, #11, b13 and 13.


Chord Type Available Tensions
Major: 9, # 11 or 6 (usually replaces the 7th)
Minor: 9 and 11. 6 would replace the 7th
Dominant: b9, 9, # 9, #11, b13 and 13

So, looking back at the D-7 chord in example B, you'll notice that I am adding the 9th to the chord. This is just one of many different voicings that I cover in the Piano Chords bundle.

Dominant 7th Tensions


I want to draw your attention to the Dominant 7th available tensions. Once again, they are b9, 9, #9, #11, b13 and 13. Let's go through the notes for a C7 chord.

C7 chord tones are: C-E-G-Bb

Available tensions are: Db-D-D#-F#-Ab-A

You'll notice that the only two notes left that are not represented are F and B. F would be a sus4 and B would change the C7 to a C Maj7 chord.

I like to bring this up because remember, when you improvise, you can use any chord tones or available tensions in your solo. So, on a Dominant 7th chord, there are really only two notes that you would try to avoid. This also means that when you play a Dominant 7th chord, you can add almost any note as a tension. Well, let me put it this way, you have a 10 out of 12 chance of hitting the "right" note!

The Million Dollar Question, "Why 13 and not 6?"


I have been asked this question for years! It is a difficult question to answer because it is like asking why does 2+2=4? However, I do have my explanation. Let's take the C7 chord as an example again.

The chord tones (notes that are found in the chord and not tensions) are C-E-G-Bb for a C7 chord. The C is the root, E is the third, G is the fifth and Bb is the flatted 7th.

It is perfectly reasonable to think of D, F# and A as two, sharp four and six. However, we would call D the ninth, F# sharp eleven and A the thirteenth. You might be asking, "Why?"
Since chords are predominantly formed by "stacking" thirds, we would consider the D-F# and A as being "upper structures" of the chord.

Learn more about Jazz Piano Chords




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Slow Blues for Piano




I'd like you to meet my friend dazza from England. He has a great website:

http://www.learnasongseries.com/index.html


I first met him in the hearandplay forum. dazza came to the chatroom and wished me a Happy Birthday at 4:00 a.m.(His time!) What a friend! dazza is good with the blues.
Have a listen, if you like. By the way, he has a delightful accent!



Listen to dazza's tutorial on Slow Gospel Blues:



Then if you want to speed things up, hear dazza play Boogie Blues on HearandPlay.
Dazza, you rock!


http://zone.hearandplay.com/index.php?name=PNphpBB2&file=viewtopic&t=816


You'll find "Somewhere Over The Rainbow" and many other titles at:

http://www.youtube.com/user/dazzaSP

Now, let's get back to Slow Blues!

Another fan of slow blues, check out MusicGuru12


And one more by finnenvenn



Here's some very nice sounding R&B chords to play:

Key E LH/RH 4/4 time count in [ ]

[1, 2] F# / E-A-C#, E, E, C#
[3] G# / B-D#-F#, G#
[4, 1, 2] A / C#-E-G#

[3, 4] / A-C#-E-G# *roll chord (2 octaves up)

[1, 2] F# / E-A-C#, E, E, C#
[3] G# / B-D#-F#, G#
[4, 1, 2] A / G-C-E

[3, 4] / C-E-G-B *roll chord (2 octaves up)

[1, 2] F# / E-A-C#, E, E, C#
[3] G# / B-D#-F#, G#
[4, 1, 2] A / C#-E-G#

[3, 4] / A-C#-E-G# *roll chord (2 octaves up)

[1, an] B / A-C#-E, G#
[2, an] B / A, B
[3, an] B / C#, D#
[4, an] B / E, F#
[1, an] B / G#, A
[2, an] B / B, C#
[3, an] B / D#, E *2nd time, go to modulation chord
[4, an] B / F#, G#
(repeat)

Modulation chord: C / Bb-D-F

Key F

[1, 2] G / F-Bb-D, F, F, D
[3] A / C-E-G, A
[4, 1, 2] Bb / D-F-A

[3, 4] / Bb-D-F-A *roll chord (2 octaves up)

[1, 2] G / F-Bb-D, F, F, D
[3] A / C-E-G, A
[4, 1, 2] Bb / Ab-Db-F

[3, 4] / Db-F-Ab-C *roll chord (2 octaves up)

[1, 2] G / F-Bb-D, F, F, D
[3] A / C-E-G, A
[4, 1, 2] Bb / D-F-A

[3, 4] / Bb-D-F-A *roll chord (2 octaves up)

[1, an] C / Bb-D-F, A
[2, an] C / Bb, C
[3, an] C / D, E
[4, an] C / F, G
[1, an] C / A, Bb
[2, an] C / C, D
[3, an] C / E, F *2nd time, go to modulation chord
[4, an] C / G, A
(repeat)

Modulation chord: C# / B-D#-F# or Db / Cb-Eb-Gb

Key F# / Gb

* * * * *

FAbBbDb
Eb/EbGBbDb
Ab/EGAbC
Db/DbFAbC
G/DbFGBb
E/DbEGBb
F/CEFA or CEGA
C/CEbGBb
C/CEbA

Try playing the chords in the left hand to do runs (preferably blues scale)






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