08 Quartals I

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©2011 Barry Liesch ch8 Quartals I 1

Chapter 8

Quartals I

• 17 pages

• 37 examples

OUTLINE REPERTOIRE

Quartal Chords (258) More Precious Than Silver

Using Added Seconds and Quartals Holy, Holy, Holy

Quartal Chord Substitutions Spirit of God Descend Upon My Heart

Two Consecutive Quartals Refiner's Fire/Great is the Lord

Walking Up the Bass with Quartals Sing Praise to God Who Reigns Above

Quartal Substitutions: Try it! O Worship the King

Chromatic Quartals Joyful, Joyful

Answer How Firm a Foundation/Spirit Song

Great is Thy FaithfulnessThe 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 chords—chords 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 instantlyrecognizable. 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 youhow to modify them. You'll get practice creating your own versions.

Quartal Chords (258)

Traditional harmony is tertian (composed of thirds). Quartal harmony, as mentionedabove, 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 thisreason, 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").

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Example 8.1

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 isthe 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

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

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

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.

Key: EKey: A

I IV V I IV V & ## # # # # #ll ll? # # # ll !! # # # # ll ll !!œ œ œ œ œ œQ2C

I

Q2F

IV

Q2G

V & ! l l? l !!œœœ œœœ œœœœ œ œ œœœ œœœ œœœœ œ œ_ œœœ œœœ œœœœ œ œ_2C

1 2 5

Q2C

2 5 8 5 8 2 & œœœ__ œœœ œœœ

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

Example 8.5 Perform it! Test the Sound

Example 8.6 Quartal Exercise (Play through Cycle)

This exercise should help make the process of learning the quartal chords easier.

Using Added Seconds and Quartals

Example 8.7 Hymnbook Version of More Precious Than Silver

* * * * * * * & !l l? l l l

!

!

œœœ œœœ œœœ

œ œ œ

œœœ_ œœœ__ œœœ œœœ_

œ œ œ œ

œœœ œœœ œœœ

œ œ œ

œœœ œœœ œœœœ_

œ œ œ

œœœ œœœ œœœ œœœ œœœ

œ œ œ œ œ

I6 IV6 V6 I6 IV6 V6 & bb ! bbb !l l? bb l !! bbb l l !!œ œ œ œ œ œetc.

E2C E

Q2C F & 44 !l l? 44 l l l !!œœœ__ œœœ ˙˙̇_œ_ œ_ œ œ œœœ œœœ ˙̇̇bœ œ œb œ œœœ__b œœœ_b ˙̇˙_bœ œ œb œ œœœbb œœœbœ œ ˙˙̇bb œb œbL ord, You

I

are more

V6

precious than

IV6

s i l - v e r

I6/4

Lord

I & b c !l l? b c l l l !!˙̇ .. œœ˙̇_.. œœ ˙ . œœ˙̇_.. œœ_ œœ ˙̇ œœœœ ˙̇ œœ œœ_ ˙̇__..œœ ˙̇ .. ˙̇_..˙ .

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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 bassnotes 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)

Focus on the last two added second chords above. They act as a kind of fill, walking upfrom 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" cliché can be used effectivelyagain 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.

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

l l& c l l l lll ll? c ll ll ll llœœ__ œœ__ œœ_ œœ_œœ œœ œœ œœ œ_̇ œ œ_̇ œ_œ̇ œ œ̇ œ œœ__ œœ_ œœ_ œœœœ œœ œœ œœ ˙̇ ˙̇_œ_̇ œ ˙̇ œœ .. œœjœœ œœœœ .. œœJ œœ œœ &l l? l l l !!œœ_ œœ œœ œœœœ œœ# œœ œœ œ œœ_ œœ_.. œœ_jœœ œœ œœ ..# œœj ww_̇w ˙ œœ__ œœ__ œœ_ œœ_œœ œœ œœ œœ œ_̇ œ œ_̇ œ_œ̇ œ œ̇ œLord, You

E2C

a re m ore

DQ2Bb

pre-ci ous than

D2Bb

E2C

s i l - v e r Lord & b c !l l? b c l l !!˙̇̇_... œœœ_˙ . œ ˙˙_̇_ ... œw œww_ ˙ œw œœ__ œ_ œœœœ____ œœœœ___˙ œœ_ œœ_ ˙̇̇̇__....˙̇ ..

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Example 8.10 Play it! Quartal Modification of Holy Holy Holy

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 consecutiveadded second chords. Remember these ideas.

Quartal Chord Substitutions

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

Example 8.11 Refiner's Fire

2miA BQ2G

AQ2F E

2CB

Q2G & cll ll? c ll ll ll llœœ__ œœ__ œœœ____ œœœ__œœ œœ œ œ ˙̇̇__ œ̇̇ œ_˙ ˙ ˙̇̇_ œœœ__ œœœ_˙ œ œ œ ˙˙_̇_ ˙̇̇__œ . œJ œ . œj ˙̇̇__ œœœ_ œœœ_œ . œjœ œE

Q2C E2C

A2F B

2G Q2C FQ2G E

2C & !l l? l l !!œœœ œœœ œœœ œœœ__œ_ œ# œ œ œœ_ œœœ_ œœœ_... œjœ œ œœ œ_ ˙̇˙_ œœœ_____ œœœ___œ œ œ œ œœ__ œœ__ œœœ_ œœœ__œœ œœ œ œ ˙̇˙__ ˙̇˙˙___˙ œ_ œ__Re - fin - er's fire

C #Q2A

my heart's one de -

D#2B

sire & # # # # 44 l l? # # # # 44 l l !!˙̇̇_ œ̇̇_ œ˙ ˙ www_w œ̇̇_ œ œ œ̇̇_ œ˙ ˙ ˙̇̇_...˙ .

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Example 8.12 Great is the Lord

Example 8.13 Shout to the Lord

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

Example 8.14 Be Exalted, O God

The harmony goes from a C to an F/C to a C chord—with a pedal (C) in the bass.

Idea: whenever you see the root of a major triad in the soprano, a quartal chordsubstitution 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.

I w i l l

C CF

give thanks to

C

Thee, O & c !l l? c l !!œ_ œ∑ ˙̇̇__ œœœ__... œj˙ ˙ ˙̇̇__... œ œ˙ . ŒA

Q2F

Great is the Lord, he is

B2G

ho - ly and just & 68 ll ll? 68 !!!œœœ__.. œ œ œœœ__.. œ œœ . œ . œœœ__.. œ œ œœœ__œ . œC#Q2A DA

Shout to the Lord, all the earth

ED

let us sing & # # # 44 l l? # # # 44 !œœœ_.. œ œ œœœ_ œœœ_.. œ œ œœœœ . œj œ . œ_j œœœ .. œ œ œœœ__ ˙̇̇__œ_. œ_j _̇

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Example 8.18 Sing Praise to God Who Reigns Above

Example 8.19 Great is thy Faithfulness

A.

B.

C.

Sing

F#2D F#Q2D

praise to God who

D#Q2B

reigns a - bove, the & ## 32ll ll? # # 32 ll ll ˙̇̇___̇ œœœ__ œœœ__ ˙̇˙__ ˙˙̇œ œ ˙ ˙ œœœ œœœ ˙˙̇ œ .˙̇_# œjœ œ ˙ ˙God of all cre - a - tion l l& # # l

l

l

l? # #!

œœœ_ œœœ_ ˙̇_̇ œ̇̇_ œ

œ œ ˙ ˙

œ ˙ œ_ ˙̇__

˙̇ ˙̇

D

Great is Thy

G

faith - ful - ness

BQ2G C#7A

O God my

DG D

fa - ther & ## 34 !œ œ œ œ . œj œ œ œ œ œ ˙C #Q2A

Great is Thy

DG D

faith - ful-ness

D#Q2B

Great is Thy

mE

faith - ful -ness & ## !œ œ œ œ . œ ˙ œ œ œ œ . œ ˙A G#2E GA

All I have

F#Q2D Gneed - ed Thy

F#2D E7A Dhand has pro -

G

vi - ded & ## !œ œ œ œ . œJ œ œ œ œ œ ˙

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Example 8.20 The Solid Rock

Two Consecutive Quartals

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

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

Example 8.21 Consecutive Quartals That Walk Up (The God of Abraham Praise)

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.

BQ2G C #Q2A

Joy - ful, joy - ful, we a - dore thee & ## 44 !ll ll? # # 44 !!œœœ__ œ œœœ__ œœœ_˙ œ œ œœœœ__ œœœ__ œœœ__ œœœ__œ œ_ œ œ œB

Q2G C#Q2A DG D C#Q2A D#Q2B mE & # # 34 !l & # # 34 !l l? # # 34 l l l !!∑œœ_œœœœ∑ œ œ œœœœ__ œœœœ__ œœœ_œœ___ œœ__ œœ__ œ . œ ˙œœœ_... œ œœœ__ œœ__ œœœ_ œœ_ œœ__nn œ œ œœœœ_# œœœœ_ œœœ_œœ__ œœ__ œœ_## œ . œ ˙œœœ_... œ ˙̇̇_œœ_ ‰ œJ œ œ_When

BQ2G CG C#mE

He shall comewith

DG D FG

trum-petsound O

EQ2C CmA

may I then in

DC G

Him be found & # 34 !œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

The

mE D #2B DmE C #Q2A

God of A - braham

D#Q2B mE

praise, who

CmA EQ2C F#Q2D

reigns en - throned a -

G

bove & # 44 !œ_ œ œ œ œ ˙ . œ œ œ œ œ ˙ .

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

Quartal Substitutions: Try it!

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

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.

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 inthe 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.

Christ the Lord is risen to -day Sons of men and an -gels say & c ! !ll ll? c !!! ll !!!œ_ œ œœ œ_˙̇̇ œœ œœœ œœ_ œœœ_ œœœ_ œœœ_œ œ ˙ œœœ__ œœœ_ œœœ_ œœ_œ œ œ œ œœ_ œœ_ œœ_ œœ_œ œ ˙How firm a found - a - tion you saints of the Lord & # 22 !l l? # 22 l l l !!œ̇̇__ œ˙ ˙̇̇_ œœœ__ œœœœ__˙ œ œ ˙̇̇__ œœœ_ œ˙ ˙ ˙̇̇ œœœ_ œ˙ ˙ ˙̇̇___˙

Etc.

CD

Q2Bb EQ2C

V IV6 V6

7maF

I7

(V) IV6 V6 I7 & 44 ! l l? 44 l l l !!

˙̇̇ œœœ_b œœœ˙ œ œ ˙̇̇ œœœ___bb œœœ__˙ œ œ ˙̇̇__ œœœ_bbb œœœ_b˙b œ œ ˙̇̇b œœœbbb œœœbb˙b œ œ ˙˙̇b˙b

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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.

& # 34 !l l? # 34 l l l

!!

œ œ œ œ ˙ œ œ œ œ ˙ & # 34 !l l? # 34 l l l

!!

œ œ œ œ ˙ œ œ œ œ ˙ & # 34 !l l? # 34 l l l !

œ œ œ œ ˙ œ œ œ œ ˙

I ii iii IV V vi bVII I & bbbbb !l l? bbbbb l l !!œœœ œœœ_ œœœ œœœnnœ œn œ œn œœœ œœœ œœœ œœœœ œ œ œn œœœn œœœ œœœ œœœœ œn œ œ œœœ œœœ_ ˙̇̇_œ_b œ_n _̇I ii iii IV V vi bVII I & c !l l? c l l !!œœœ_ œœœ_ œœœ_ œœœ_##œ œ# œ œ# œœœ œœœ œœœ œœœœ œ œ œ# œœœ# œœœ œœœ

œœœœ œ# œ œ

œœœ œœœ ˙̇̇œb œn _̇

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

Example 8.31 Change My Heart O God

Play it! Play as is; then Integrate quartals into the rhythmic texture above.

Example 8.32 Immortal Invisible (Play in All Keys)

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

BQ2G

Im -

C C

#Q2A

mor -tal, in -

IV

D E2C

vis - i - ble,

V

13susD 7D

God on - ly

Vsus13 V7

G

wise

I !& # 34 !l !? # 34 l l l l !˙̇̇_...˙ . œœœ__œ œœœ__ œ_ œœœ_˙ œ# œœœ__ œ œœœ__˙ œ œœœœ_ œ œœœœ__˙ œ ˙̇̇_˙7maC C #Q2A

Changemy heart, O

I I7 V6/ii

7mD

God,

ii7

AQ2F B

Q2G

make it ev - er

V IV6 V6

7maC

true

I7 & 44 !l l? 44 l l !!Œ œ œ œœœ_ œœœ_˙ œ œ# www__w Œ œ œ œœœ__ œœœ__˙ œ œ www__w 44 !l l? 44 l l !!Œ œ œ œjœ_. œ œœ__Jœj˙ ˙̇̇ œœ__w œ___ œ__ œœ___ œœ__œ_ œ ˙ ˙̇__Œ œ œ œjœ_. œ œœœ__j˙̇ ˙̇ www__œ__ œ œ œ ˙

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Example 8.33 Infant Holy, Infant Lowly

It is possible to have a terrfic idea, but for it not to be appreciated. For example, withoutsome 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 thescale—powerful! Practice in every key. We've given you a jump-start by writing it out.

I ii iii IV V vi bVII I & c !l l? c l l l l l l !!˙̇˙_ ˙˙̇_˙̇̇ ˙̇̇# ˙˙̇_ ˙˙̇_##˙̇̇ ˙̇̇# ˙˙̇# ˙˙̇˙̇̇ ˙̇̇b ˙̇̇ ˙̇̇˙̇̇_ ˙̇̇_# ˙̇̇# ˙̇̇#˙̇̇_ ˙̇̇_# ˙̇̇ ˙̇̇˙̇̇__ ˙̇̇__b ˙̇̇ ˙̇̇˙̇̇__b ˙̇̇__n wwwwww___

BQ2G

swift are

C#Q2A

wing - ing an - gels

V 6 / V

D#Q2B

sing - ing, No - els

V V6 / v i & # 34l l? # 34 l

œ œœ œœœ__ œœœ__ œ œ˙ œ# œœœ__ œœœ__ œ

œ˙ œ#

EQ2C

ring - ing, tid - ings

v i

bring - ing & # ! l l? # !!œœœ_ œœœ_ œ œ˙ œ œœ œœœ˙

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

Example 8.36 Change My Heart, O God

I ii iii IV V vi bVII I & bbbbb !l l? bbbbb l l l l l l !!˙̇̇_ ˙̇̇_˙˙̇ ˙˙̇n ˙̇̇ ˙̇̇nn˙̇˙ ˙˙̇n ˙̇̇n ˙̇̇˙̇˙_ ˙˙̇_b ˙̇̇ ˙̇̇˙̇̇_ ˙̇˙_n ˙̇̇n ˙̇̇˙̇̇__ ˙̇˙__n ˙̇̇ ˙̇̇˙̇̇__ ˙̇̇__b ˙̇̇ ˙̇̇_˙̇̇___b ˙̇̇___n www_www___I ii iii IV V vi bVII I & # # l l? # # l l l l l !!˙̇̇_ ˙̇̇_˙̇̇ ˙̇̇# ˙̇̇ ˙̇̇##˙̇̇ ˙̇̇# ˙̇̇# ˙̇̇˙̇̇_ ˙̇̇_n ˙̇̇ ˙̇̇˙̇̇_ ˙̇̇_# ˙̇̇# ˙̇̇˙̇̇__ ˙̇̇__# ˙̇̇ ˙̇̇˙̇̇__ ˙̇̇__n ˙̇̇ ˙̇̇_˙̇̇___n ˙̇̇___# www_www___

D7B

Q2B

I

mE 7A

Q2A

ii

D BQ2G

I

C#2A & # # 44 !l l? # # 44 l l !˙̇̇ œœœ_ œ œ œ˙̇ ˙̇̇# ˙̇̇_ œœœ_ œ œ œ˙̇ ˙̇̇ ˙̇̇__ œœœ__ œ œ œ˙̇ ˙ œœœ____... œ__j _̇_˙ ˙7A

Q2A l l& 44 !ll

l

l? 44

!!

Œ œ œ œœœ_ œœœ_˙ œ œœ

œ#

www__w

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Answer

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

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

Q2G B2

G F#2

D F#2

D E

Q2

C & # cll ll? # c ll ll llœœœ__œ ˙̇̇_ œœœ___ œœœ_˙ œ œ ˙̇˙_̇_ ˙̇̇___œ . œ_j _̇ œœ œœœ œœ œœœœ œ œ œB

Q2G C#2A BQ2G F#2D & #l l? # l l l l

˙̇̇ œœœ œœ_˙ œ œ

œœ__̇ œœ__ œœœ__ œœœ____œ__ œ__ œ_ œ#

œœœ__ œœœ__ œœœœ__ œœœœ_œ œ œ œ

˙̇̇__ œœœœ__ .... œœœ___j˙ œ . œj

www___w

B2G

EQ2C

F#2D D #Q2B C #Q2A & # !l l? # l l !!˙̇˙˙ œœœ œ œœœ˙ œ œ œœ̇ œœ ˙̇̇œ œ ˙ œœœ œœœ_# œœœ_ œœœ_œ œ# œ œ# œœœ__... œœœœ___j# œœœ___œ . œJ œ

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08 Quartals I