Quartal Harmony (chords comprised of fourths) is used extensively in jazz. This chapter demonstrates more kinds of quartal possibilities & their function: interior quartals, chains of quartals, quartals used with the pentatonic scale, piling on three or four quartals in a single chord, and using quartals with drones and chord planning situations.
This chapter introduces an easy way to incorporate quartal harmony (chords comprised of fourths) into praise choruses & hymns. The unique & valuable symbol, C2Q (from bottom up: D.G.C), is introduced and explained. Another way to think of this is to use numbers in the scale. The scale degrees, 258, would also represent a quartal chord. Quartals sound particularly good with the third in the bass (eg., C2Q/E). Examples, exercises, assignments are offered.
In this chapter we mainly concentrate on two “dominant” progressions: (1) progressions down a fourth; and (2) secondary (or applied) dominants. From your music theory, you may have learned about V of V chords (an example of a secondary dominant). Secondary dominants usually introduce chromaticism, and often propel the music forward strongly.
In this chapter we’ll explore chord substitutions that move up or down in thirds – mostly down thirds. These harmonic substitutions will add smoothness, warmth, variety, and richness to your songs.