Quartal jazz piano voicings

Rule 1 is that for major and minor chords, the left-hand plays a stack of fourths and the right-hand plays a major triad. This is what makes them so well suited to comping, because it gives the soloist a lot of harmonic and melodic freedom. This is arguably unsuitable, because chords built in 4ths sound and function very differently to chords built in 3rds. In the key of C, I personally prefer the first 2 sets, as they are more in the sweet spot of the piano which is right around middle C. This is a particularly good chord to use over a Blues.

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We established that, while chords are traditionally constructed in intervals of 3rds, it is also possible to build chord up in intervals of 4ths. In this lesson we will combine this information to create some quartal upper pixno voicings that are well suited to a comping setting.

Rule 2 is qkartal for dominant chords, the left-hand plays a tritone interval, and again the right-hand plays a major triad. This is what makes them so well suited to comping, because it gives the soloist a lot of harmonic and melodic freedom.

But unfortunately, quaryal music theory is what everyone knows and uses. Standard Quartal Voicing use 5 notes — but this can be dropped to 4 or 3 or increased to 6 — and are generally played in the middle register of the piano.

Quartal Chord Voicings

Chords built in 4ths are analysed in the same way as regular chords built in 3rds. We used the same stack of 4ths for the ii chord in both keys. Practice Tips In the same way vicings rootless left-hand voicings sound best around middle C, these quartal stacks sound the best right in the center of the piano. Because Quartal Chords are built in 4ths, they have a slightly Suspended Chord sound. Related Lessons progressions are essential components of the jazz language and so taking the time to memorise them will greatly benefit your playing.

Similarities Between Quartal Voicings If we take a closer look at these voicings, we can voicongs that they share a lot of similarities with the in Eb Major.

Quartal Chord Voicings - The Jazz Piano Site

We look at all the notes that comprise them and figure out an appropriate chord name. To play a rootless voicing we leave out the root of the chord and play one of the upper extensions to get a richer, more colourful sound.

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Some of these chords are listed below. The trick to learning these voicings uqartal is to memorise the formulas.

Quartal Comping Voicings For Jazz Piano | Piano Comping Chords

Rootless voicings sound more professional than root based 7th chords and they voice lead much more smoothly in a progression. This is arguably unsuitable, because chords built in voicingss sound and function very differently to chords built in 3rds. The interval B to F is an augmented 4th tritone and the interval F to A is a diminished 4th Major 3rd.

So your right hand will always be playing a major triad for all chords in the progression — that applies to both major and minor s. Rule 3 is that for -7b5 chords, the left hand will play the root and the b5 of the chord, and the right-hand plays a major triad.

These are shown below. If we take a closer look at uazz voicings, we can see that they share a lot of similarities with the in Eb Major.

Quartal Comping Voicings For Jazz Piano

This is because 4ths are tonally ambiguous and can function as many different chords or keys. In the same way that we can build regular tertian diatonic chords by walking up a scale Cmaj7, Dm7, Em7, etc.

In the key of C, I personally prefer the first 2 sets, as they are more in the sweet spot of the piano which is right around middle C. Leave us your email address below to get notified on the latest jazz piano lessons, learning resources and practice tips and tricks.

Quartal Chords are very ambiguous there is no clear tonal centre [root note] and each voicing can be many different chords. Quwrtal the same way that rootless left-hand voicings sound best around middle C, these quartal stacks sound the best right in the center of the piano.

This is a particularly good chord to use over a Blues. Depending on the key, some of these voicing sets will work better than others. A few points on Quartal chords: In previous lessons in the PianoGroove course, we have covered upper structure voicings, and also voicings built from 4th intervals such as the So What Voicing.

Below is a graph demonstrating this. Rule 1 is that for major and minor chords, the left-hand plays a stack of fourths and the right-hand plays a major triad.

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