Jeff Brent's Lessons: Quartals

Quartal Permutations over ii-V7-I Progressions
with Melodic Ideas and Comping Suggestions

b3 = min 3rd interval above root
b7 = min 7th interval above root
#7 = Maj 7th interval above root

Minor quality voicings:
1 11 b7  (m11)
9 5  1  (m9)
11 b7 b3 (m11)
5  8 11  (m11)
6 9  5  (m13)

dominant 7 quality voicings:
9 5 1 (9th)
3 6 9 (13th)
6 9 5 (13th)

Major quality voicings:
9 5 1 (Maj9)
3 6 9 (Maj6/9)
6 9 5 (Maj6/9)
#7 3 6 (Maj13no11)

* * * * * *

ii-V7-I progressions:

C#min 1 11 b7 ( C# F# B ) descend
F#7   9 5 1 ( G# C# F# ) ascend
Bmaj 9 5 1 ( C# F# B )

C#min 1 11 b7 ( C# F# B ) descend
F#7   9 5 1 ( G# C# F# ) descend
Bmaj 3 6 9 ( D# G# C# )

C#min 1 11 b7 ( C# F# B ) descend
F#7   9 5 1 ( G# C# F# ) same
Bmaj 6 9 5 ( G# C# F# )

C#min 1 11 b7 ( C# F# B ) descend
F#7   9 5 1 ( G# C# F# ) ascend
Bmaj #7 3 6 ( A# D# G# )

* * * * * *

C#min 1 11 b7 ( C# F# B ) descend
F#7   3 6 9 ( A# D# G# ) ascend
Bmaj 9 5 1 ( C# F# B )

C#min 1 11 b7 ( C# F# B ) descend
F#7   3 6 9 ( A# D# G# ) ascend
Bmaj 3 6 9 ( D# G# C# )

C#min 1 11 b7 ( C# F# B ) descend
F#7   3 6 9 ( A# D# G# ) descend
Bmaj 6 9 5 ( G# C# F# )

C#min 1 11 b7 ( C# F# B ) descend
F#7   3 6 9 ( A# D# G# ) same
Bmaj #7 3 6 ( A# D# G# )

* * * * * *

C#min 1 11 b7 ( C# F# B ) ascend
F#7   6 9 5 ( D# G# C# ) descend
Bmaj 9 5 1 ( C# F# B )

C#min 1 11 b7 ( C# F# B ) ascend
F#7   6 9 5 ( D# G# C# ) same
Bmaj 3 6 9 ( D# G# C# )

C#min 1 11 b7 ( C# F# B ) ascend
F#7   6 9 5 ( D# G# C# ) ascend
Bmaj 6 9 5 ( G# C# F# )

C#min 1 11 b7 ( C# F# B ) ascend
F#7   6 9 5 ( D# G# C# ) descend
Bmaj #7 3 6 ( A# D# G# )

* * * * * * * * * * * *

C#min 9 5 1 ( D# G# C# ) ascend
F#7   9 5 1 ( G# C# F# ) ascend
Bmaj 9 5 1 ( C# F# B )

C#min 9 5 1 ( D# G# C# ) ascend
F#7   9 5 1 ( G# C# F# ) descend
Bmaj 3 6 9 ( D# G# C# )

C#min 9 5 1 ( D# G# C# ) ascend
F#7   9 5 1 ( G# C# F# ) same
Bmaj 6 9 5 ( G# C# F# )

C#min 9 5 1 ( D# G# C# ) ascend
F#7   9 5 1 ( G# C# F# ) ascend
Bmaj #7 3 6 ( A# D# G# )

* * * * * *

C#min 9 5 1 ( D# G# C# ) descend
F#7   3 6 9 ( A# D# G# ) ascend
Bmaj 9 5 1 ( C# F# B )

C#min 9 5 1 ( D# G# C# ) descend
F#7   3 6 9 ( A# D# G# ) ascend
Bmaj 3 6 9 ( D# G# C# )

C#min 9 5 1 ( D# G# C# ) descend
F#7   3 6 9 ( A# D# G# ) descend
Bmaj 6 9 5 ( G# C# F# )

C#min 9 5 1 ( D# G# C# ) descend
F#7   3 6 9 ( A# D# G# ) same
Bmaj #7 3 6 ( A# D# G# )

* * * * * *

C#min 9 5 1 ( D# G# C# ) same
F#7   6 9 5 ( D# G# C# ) descend
Bmaj 9 5 1 ( C# F# B )

C#min 9 5 1 ( D# G# C# ) same
F#7   6 9 5 ( D# G# C# ) same
Bmaj 3 6 9 ( D# G# C# )

C#min 9 5 1 ( D# G# C# ) same
F#7   6 9 5 ( D# G# C# ) ascend
Bmaj 6 9 5 ( G# C# F# )

C#min 9 5 1 ( D# G# C# ) same
F#7   6 9 5 ( D# G# C# ) descend
Bmaj #7 3 6 ( A# D# G# )

* * * * * * * * * * * *

C#m 11 b7 b3 ( F# B E )   ascend
F#7 9 5 1 ( G# C# F# ) ascend
Bmaj 9 5 1 ( C# F# B )

C#m 11 b7 b3 ( F# B E )   ascend
F#7 9 5 1 ( G# C# F# ) descend
Bmaj 3 6 9 ( D# G# C# )

C#m 11 b7 b3 ( F# B E ) ascend
F#7 9 5 1 ( G# C# F# ) same
Bmaj 6 9 5 ( G# C# F# )

C#m 11 b7 b3 ( F# B E )   ascend
F#7   9 5 1 ( G# C# F# ) ascend
Bmaj #7 3 6 ( A# D# G# )

* * * * * * *

C#m 11 b7 b3 ( F# B E )   ascend
F#7 3 6 9 ( A# D# G# ) ascend
Bmaj 9 5 1 ( C# F# B )

C#m 11 b7 b3 ( F# B E )   ascend
F#7 3 6 9 ( A# D# G# ) ascend
Bmaj 3 6 9 ( D# G# C# )

C#m 11 b7 b3 ( F# B E )   ascend
F#7 3 6 9 ( A# D# G# ) descend
Bmaj 6 9 5 ( G# C# F# )

C#m 11 b7 b3 ( F# B E )   ascend
F#7   3 6 9 ( A# D# G# ) same
Bmaj #7 3 6 ( A# D# G# )

* * * * * * *

C#m 11 b7 b3 ( F# B E )   descend
F#7 6 9 5 ( D# G# C# ) descend
Bmaj 9 5 1 ( C# F# B )

C#m 11 b7 b3 ( F# B E )   descend
F#7 6 9 5 ( D# G# C# ) same
Bmaj 3 6 9 ( D# G# C# )

C#m 11 b7 b3 ( F# B E )   descend
F#7 6 9 5 ( D# G# C# ) ascend
Bmaj 6 9 5 ( G# C# F# )

C#m 11 b7 b3 ( F# B E )   descend
F#7   6 9 5 ( D# G# C# ) descend
Bmaj #7 3 6 ( A# D# G# )

* * * * * * *

C#m 5 8 11 ( G# C# F# ) same
F#7 9 5 1 ( G# C# F# ) ascend
Bmaj 9 5 1 ( C# F# B )

C#m 5 8 11 ( G# C# F# ) same
F#7 9 5 1 ( G# C# F# ) descend
Bmaj 3 6 9 ( D# G# C# )

C#m 5 8 11 ( G# C# F# ) same
F#7 9 5 1 ( G# C# F# ) same
Bmaj 6 9 5 ( G# C# F# )

C#m   5 8 11 ( G# C# F# ) same
F#7   9 5 1 ( G# C# F# ) ascend
Bmaj #7 3 6 ( A# D# G# )

* * * * * * *

C#m 5 8 11 ( G# C# F# ) ascend
F#7 3 6 9 ( A# D# G# ) ascend
Bmaj 9 5 1 ( C# F# B )

C#m 5 8 11 ( G# C# F# ) ascend
F#7 3 6 9 ( A# D# G# ) ascend
Bmaj 3 6 9 ( D# G# C# )

C#m 5 8 11 ( G# C# F# ) ascend
F#7 3 6 9 ( A# D# G# ) descend
Bmaj 6 9 5 ( G# C# F# )

C#m   5 8 11 ( G# C# F# ) ascend
F#7   3 6 9 ( A# D# G# ) same
Bmaj #7 3 6 ( A# D# G# )

* * * * * * *

C#m 5 8 11 ( G# C# F# ) descend
F#7 6 9 5 ( D# G# C# ) descend
Bmaj 9 5 1 ( C# F# B )

C#m 5 8 11 ( G# C# F# ) descend
F#7 6 9 5 ( D# G# C# ) same
Bmaj 3 6 9 ( D# G# C# )

C#m 5 8 11 ( G# C# F# ) descend
F#7 6 9 5 ( D# G# C# ) ascend
Bmaj 6 9 5 ( G# C# F# )

C#m   5 8 11 ( G# C# F# ) descend
F#7   6 9 5 ( D# G# C# ) descend
Bmaj #7 3 6 ( A# D# G# )

* * * * * * * * * * * * * *

C#m 6 9 5 ( A# D# G# ) descend
F#7 9 5 1 ( G# D# F# ) ascend
Bmaj 9 5 1 ( C# F# B )

C#m 6 9 5 ( A# D# G# ) descend
F#7 9 5 1 ( G# D# F# ) descend
Bmaj 3 6 9 ( D# G# C# )

C#m 6 9 5 ( A# D# G# ) descend
F#7 9 5 1 ( G# D# F# ) same
Bmaj 6 9 5 ( G# C# F# )

C#m   6 9 5 ( A# D# G# ) descend
F#7   9 5 1 ( G# D# F# ) ascend
Bmaj #7 3 6 ( A# D# G# )

* * * * * * *

C#m 6 9 5 ( A# D# G# ) same
F#7 3 6 9 ( A# D# G# ) ascend
Bmaj 9 5 1 ( C# F# B )

C#m 6 9 5 ( A# D# G# ) same
F#7 3 6 9 ( A# D# G# ) ascend
Bmaj 3 6 9 ( D# G# C# )

C#m 6 9 5 ( A# D# G# ) same
F#7 3 6 9 ( A# D# G# ) descend
Bmaj 6 9 5 ( G# C# F# )

C#m   6 9 5 ( A# D# G# ) same
F#7   3 6 9 ( A# D# G# ) same
Bmaj #7 3 6 ( A# D# G# )

* * * * * * *

C#m 6 9 5 ( A# D# G# ) ascend
F#7 6 9 5 ( D# G# C# ) descend
Bmaj 9 5 1 ( C# F# B )

C#m 6 9 5 ( A# D# G# ) ascend
F#7 6 9 5 ( D# G# C# ) same
Bmaj 3 6 9 ( D# G# C# )

C#m 6 9 5 ( A# D# G# ) ascend
F#7 6 9 5 ( D# G# C# ) ascend
Bmaj 6 9 5 ( G# C# F# )

C#m   6 9 5 ( A# D# G# ) ascend
F#7 6 9 5 ( D# G# C# ) descend
Bmaj #7 3 6 ( A# D# G# )

* * * * * * * * * * * * * *

Some melodic ideas for quartals!

1. Simple arpeggiation can sound terrific (especially when each chord only gets two beats)

2. Play the following very rapidly in succession over Cm7

   Bb F C

   C G D

   Eb Bb F

   F C G

   G D A

   Bb F C

   G D A

   F C G

   Eb Bb F

   C G D

   Bb F C

Immediately obvious to any casual observer is the fact that all of the above notes fall into C dorian.

3. Another way to use quartals in a melodic sense is to utilize the "mega-scale" concept
(for those of you unfamiliar with this, please see the "Bopology 101" lesson).

What if we had a scale that was all made up of perfect 4ths???

How about this one:

E A D G C

But HEY! Do you notice what I notice? If you rearrange those notes, it's the pentatonic scale!

C D E G A

And as all musicians know, YOU CAN USE THE PENTATONIC SCALE OVER ALMOST EVERYTHING!

* * * * * * * * * * * * * *

Here are some great comping ideas for quartals (mostly for keyboard):

1. Play different quartals in the right and left hands (using contrary motion when possible).
This gives a fuller chord texture and provides more harmonic interest.

Example (in C):

Dm (ii minor)
LH: 9 5 1 ( E A D ) RH: 11 b7 b3 ( G C F )
= 1 b3 5 b7 9 11

G7 (V7 dominant)
LH: 3 6 9 ( B E A ) RH: 9 5 1 ( A D G )
= 1 3 5 9 13

CMaj7 (Major7)
LH: 6 9 5 ( A D G ) RH: 9 5 1 ( D G C )
= 1 5 6 9

2. Rootless chords in one hand - quartals in the other. Mix and match.

3. Subsitute quartals in the left hand instead of rootless chords.

4. If you don't have a bass player, play your standard walking bass in the left hand and the appropriate quartals in the right.

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