Quartal and quintal harmony

In music, quartal harmony is the building of harmonic structures built from the intervals of the
perfect fourth, the augmented fourth and the diminished fourth. For instance, a three-note quartal
chord on C can be built by stacking perfect fourths, C–F–B♭.

Quintal harmony is harmonic structure preferring the perfect fifth, the augmented fifth and the
diminished fifth. For instance, a three-note quintal chord on C can be built by stacking perfect
fifths, C–G–D.

Contents
Properties
History
Precursors
20th- and 21st-century classical music
Schoenberg
Others
Jazz
Rock music
Examples of quartal pieces
Classical
Jazz
Folk
Rock
See also
References
Further reading
External links

Properties
Use of the terms quartal and quintal arises from a contrast, compositional or perceptual, with
traditional tertian harmonic constructions. Listeners familiar with music of the European common
practice period perceive tonal music as that which
uses major and minor chords and scales, wherein
both the major third and minor third constitute the
basic structural elements of the harmony.

Regarding chords built from perfect fourths alone,

composer Vincent Persichetti writes that: The notes in a quartal chord on A can be arranged
to form a thirteenth chord on B♭ (Benward and
Saker 2009, 279).
Chords by perfect fourth are ambiguous
in that, like all chords built by
equidistant intervals (diminished
seventh chords or augmented triads),
any member can function as the root.
The indifference of this rootless
harmony to tonality places the burden
of key verification upon the voice with
the most active melodic line.
(Persichetti 1961, 94)

Quintal harmony (the harmonic layering of fifths specifically) is a lesser-used term, and since the
fifth is the inversion or complement of the fourth, it is usually considered indistinct from quartal
harmony. Because of this relationship, any quartal chord can be rewritten as a quintal chord by
changing the order of its pitches.

Like tertian chords, a given quartal or quintal chord can be written with different voicings, some of
which obscure its quartal structure. For instance, the quartal chord, C–F–B♭, can be written as

History
In the Middle Ages, simultaneous notes a fourth apart were heard as a consonance. During the
common practice period (between about 1600 and 1900), this interval came to be heard either as a
dissonance (when appearing as a suspension requiring resolution in the voice leading) or as a
consonance (when the root of the chord appears in parts higher than the fifth of the chord). In the
later 19th century, during the breakdown of tonality in classical music, all intervallic relationships
were once again reassessed. Quartal harmony was developed in the early 20th century as a result
of this breakdown and reevaluation of tonality.

Precursors

The Tristan chord is made up of the notes F ♮ , B ♮ , D ♯ and G ♯ and is the first chord heard in
Wagner's opera Tristan und Isolde.
 0:00 MENU

The bottom two notes make up an augmented fourth, while the upper two make up a perfect
fourth. This layering of fourths in this context has been seen as highly significant. The chord had
been found in earlier works (Vogel 1962, 12), notably Beethoven's Piano Sonata No. 18, but
Wagner's use was significant, first because it is seen as moving away from traditional tonal
harmony and even towards atonality, and second because with this chord Wagner actually
provoked the sound or structure of musical harmony to become more predominant than its
function, a notion which was soon after to be explored by Debussy and others (Erickson 1975,).

Despite the layering of fourths, it is rare to find musicologists identifying this chord as "quartal
harmony" or even as "proto-quartal harmony", since Wagner's musical language is still essentially
built on thirds, and even an ordinary dominant seventh chord can be laid out as augmented fourth
plus perfect fourth (F–B–D–G). Wagner's unusual chord is really a device to draw the listener into
the musical-dramatic argument which the composer is presenting to us.

At the beginning of the 20th century, quartal harmony finally became an important element of
harmony. Scriabin used a self-developed system of transposition using fourth-chords, like his
Mystic chord (shown below) in his Piano Sonata No. 6.

Scriabin wrote this chord in his sketches alongside other quartal passages and more traditional
tertian passages, often passing between systems, for example widening the six-note quartal
sonority (C–F ♯–B ♭–E–A–D) into a seven-note chord (C–F ♯–B ♭–E–A–D–G). Scriabin's sketches
for his unfinished work Mysterium show that he intended to develop the Mystic chord into a huge
chord incorporating all twelve notes of the chromatic scale (Morrison 1998, 316).

In France, Erik Satie experimented with planing in the stacked fourths (not all perfect) of his 1891
score for Le Fils des étoiles (Solomon 2003). Paul Dukas's The Sorcerer's Apprentice (1897) has a
rising repetition in fourths, as the tireless work of out-of-control walking brooms causes the water
level in the house to "rise and rise".

20th- and 21st-century classical music

Composers who use the techniques of quartal harmony include Claude Debussy, Francis Poulenc,
Alexander Scriabin, Alban Berg, Leonard Bernstein, Arnold Schoenberg, Igor Stravinsky, Joe
Hisaishi and Anton Webern (Herder 1987, 78).

Schoenberg
Arnold Schoenberg's Chamber Symphony Op. 9 (1906) displays quartal harmony: the first
measure and a half construct a five-part fourth chord with the notes (highlighted in red in the
illustration) A–D ♯ –F–B ♭ –E ♭ –A ♭ distributed over the five stringed instruments (the viola must
tune down the lowest string by a minor third, and read in the unfamiliar tenor clef).

Vertical quartal-harmony in the string parts of

the opening measures of Arnold Schoenberg's
Chamber Symphony Op. 9 Play

The composer then picks out this vertical quartal

harmony in a horizontal sequence of fourths from the
horns, eventually leading to a passage of triadic
quartal harmony (i.e., chords of three notes, each Six-note horizontal fourth chord in Arnold
layer a fourth apart). Schoenberg's Chamber Symphony Op. 9

Schoenberg was also one of the first to write on the

theoretical consequences of this harmonic innovation. In his Theory of Harmony
(Harmonielehre) of 1911, he wrote:

The construction of chords by superimposing fourths can lead to a chord that contains
all the twelve notes of the chromatic scale; hence, such construction does manifest a
possibility for dealing systematically with those harmonic phenomena that already exist
in the works of some of us: seven, eight, nine, ten, eleven, and twelve-part chords… But
the quartal construction makes possible, as I said, accommodation of all phenomena of
harmony. (Schoenberg 1978, 406–407)

For Anton Webern, the importance of quartal harmony lay in the possibility of building new
sounds. After hearing Schoenberg's Chamber Symphony, Webern wrote "You must write
something like that, too!" (Webern 1963, 48; "So was mußt du auch machen!")

Others

In his Theory of Harmony (Schoenberg 1978, 407): "Besides myself my students Dr. Anton
Webern and Alban Berg have written these harmonies (fourth chords), but also the Hungarian
Béla Bartók or the Viennese Franz Schreker, who both go a similar way to Debussy, Dukas and
perhaps also Puccini, are not far off."
 Fourths in Béla Bartók's Mikrokosmos V, No. 131, Fourths (Quartes)
Play

French composer Maurice Ravel used quartal chords in Sonatine (1906) and Ma mère l'oye (1910),
while American Charles Ives used quartal chords in his song "The Cage" (1906).

Introduction to Charles Ives's "The Cage" from

114 Songs (Reisberg 1975, 345). Play

Quartal harmony in "Laideronnette" from Ravel's Ma mère

l'oye. The top line uses the pentatonic scale (Benward &
Saker 2003, 37) Play

Hindemith constructed large parts of his symphonic work Symphony: Mathis der Maler by means
of fourth and fifth intervals. These steps are a restructuring of fourth chords (C–D–G becomes the
fourth chord D–G–C), or other mixtures of fourths and fifths (D ♯–A ♯–D ♯–G ♯–C ♯ in measure 3 of
the example).

Hindemith was, however, not a proponent of an explicit quartal harmony. In his 1937 writing
Unterweisung im Tonsatz (The Craft of Musical Composition, Hindemith 1937), he wrote that
"notes have a family of relationships, that are the bindings of tonality, in which the ranking of
intervals is unambiguous," so much so, indeed, that in the art of triadic composition "…the
musician is bound by this, as the painter to his primary colours, the architect to the three
dimensions." He lined up the harmonic and melodic aspects of music in a row in which the octave
ranks first, then the fifth and the third, and then the fourth. "The strongest and most unique
harmonic interval after the octave is the fifth, the prettiest nevertheless is the third by right of the
chordal effects of its Combination tones."
 Quartal harmony in Hindemith's Flute Sonata, II with tonal center
on B established by descent in left hand in Dorian and repeated
B's and F♯'s (Kostka, Payne & Almén 2013, Chapter twenty six:
Materials and techniques, Chord structures, Quartal and
secundal harmony, 469–70) Play

The works of the Filipino composer Eliseo M. Pajaro (1915–1984) are characterised by quartal and
quintal harmonies, as well as by dissonant counterpoint and polychords (Kasilag 2001).

As a transition to the history of jazz, George Gershwin may be mentioned. In the first movement of
his Concerto in F altered fourth chords descend chromatically in the right hand with a chromatic
scale leading upward in the left hand.

Jazz
The style of jazz, having an eclectic harmonic orbit, was in its early days overtaken (until perhaps
the Swing of the 1930s) by the vocabulary of 19th-century European music. Important influences
come thereby from opera, operetta, military bands as well as from the piano music of Classical and
Romantic composers, and even that of the Impressionists. Jazz musicians had a clear interest in
harmonic richness of colour, for which quartal harmony provided possibilities, as used by pianists
and arrangers like Jelly Roll Morton, Duke Ellington, Art Tatum, Bill Evans (Hester 2000, 199)
Milt Buckner (Hester 2000, 199) Chick Corea (Herder 1987, 78; Scivales 2005, 203) Herbie
Hancock (Herder 1987, 78; Scivales 2005, 203) and especially McCoy Tyner (Herder 1987, 78;
Scivales 2005, 205).

The hard bop of the 1950s made new applications of

quartal harmony accessible to jazz. Quintet writing in
which two brass instruments (commonly trumpet and
saxophone) may proceed in fourths, while the piano
(as a uniquely harmonic instrument) lays down
chords, but sparsely, only hinting at the intended
harmony. This style of writing, in contrast with that of
The ii–V–I cadence Play ; the fourth-
the previous decade, preferred a moderate tempo.
suspension or sus chord Play
Thin-sounding unison bebop horn sections occur
frequently, but these are balanced by bouts of very
refined polyphony such as is found in cool jazz.
On his watershed record Kind of Blue, Miles Davis with pianist Bill Evans used a chord consisting
of three perfect fourth intervals and
a major third on the composition "So
What". This particular voicing is
sometimes referred to as a So What
chord, and can be analyzed (without A typical hard bop brass part, from Horace Silver's "Señor Blues"
regard for added sixths, ninths, etc.)
as a minor seventh with the root on
the bottom, or as a major seventh with the third on the bottom (Levine 1989,
97).

From the outset of the 1960s, the employment of quartal possibilities had
become so familiar that the musician now felt the fourth chord existed as a
separate entity, self standing and free of any need to resolve. The pioneering
of quartal writing in later jazz and rock, like the pianist McCoy Tyner's work The "So What"
with saxophonist John Coltrane's "classic quartet", was influential chord uses three
throughout this epoch. Oliver Nelson was also known for his use of fourth intervals of a fourth.
chord voicings (Corozine 2002, 12). Floyd claims that the "foundation of
'modern quartal harmony'" began in the era when the Charlie Parker–
influenced John Coltrane added classically trained pianists Bill Evans and McCoy Tyner to his
ensemble (Floyd 2004, 4).

Jazz guitarists cited as using chord voicings using quartal harmony include Johnny Smith, Tal
Farlow, Chuck Wayne, Barney Kessel, Joe Pass, Jimmy Raney, Wes Montgomery, however all in a
traditional manner, as major 9th, 13th and minor 11th chords (Floyd 2004, 4) (an octave and
fourth equals an 11th). Jazz guitarists cited as using modern quartal harmony include Jim Hall
(especially Sonny Rollins's The Bridge), George Benson ("Sky Dive"), Pat Martino, Jack Wilkins
("Windows"), Joe Diorio, Howard Roberts, Kenny Burrell, Wes Montgomery, Henry Johnson,
Russell Malone, Jimmy Bruno, Howard Alden, Paul Bollenback, Mark Whitfield, and Rodney
Jones (Floyd 2004, 4).

Quartal harmony was also explored as a possibility under new experimental scale models as they
were "discovered" by jazz. Musicians began to work extensively with the so-called church modes of
old European music, and they became firmly situated in their compositional process. Jazz was
well-suited to incorporate the medieval use of fourths to thicken lines into its improvisation. The
pianists Herbie Hancock, and Chick Corea are two musicians well known for their modal
experimentation. Around this time, a style known as free jazz also came into being, in which
quartal harmony had extensive use due to the wandering nature of its harmony.

Fourths in Herbie Hancock's "Maiden Voyage"

In jazz, the way chords were built from a scale came to be called voicing, and specifically quartal
harmony was referred to as fourth voicing.
 ii-V-I turnaround with fourth voicings: all chords are in fourth voicings
Play ; They are often ambiguous as, for example, the Dm11 and
G9sus chords are here voiced identically and will thus be
distinguished for the listener by the root movement of the bassist
(Boyd 1997, 94)

Thus when the m11 and the dominant 7th sus (9sus above) chords in quartal voicings are used
together they tend to "blend into one overall sound" sometimes referred to as modal voicings, and
both may be applied where the m11 chord is called for during extended periods such as the entire
chorus (Boyd 1997, 95).

Rock music
Quartal and quintal harmony have been used by Robert Fripp,
rhythm guitarist of King Crimson. Fripp dislikes minor thirds
and especially major thirds in equal temperament tuning,
which is used by non-experimental guitars. Of course, just
intonation's perfect octaves, perfect fifths, and perfect fourths
are well approximated in equal temperament tuning, and
perfect fifths and octaves are highly consonant intervals. Fripp
builds chords using perfect fifths, fourths, and octaves in his
new standard tuning (NST), a regular tuning having perfect Disliking the sound of thirds (in
fifths between its successive open strings (Mulhern 1986,). equal-temperament tuning), Robert
Fripp builds chords with perfect
Tarkus by Emerson, Lake & Palmer uses quartal harmony intervals in his new standard tuning.
(Macon 1997, 55).

Examples of quartal pieces

Classical
William Albright

Sonata for Alto Saxophone and Piano (Lewis 1985, 443)

Alban Berg

Sonata for Piano, op. 1 (Lambert 1996, 118)

Wozzeck (Lambert 1996, 118; Reisberg 1975, 344–46)

Carlos Chávez
 Sinfonía de Antígona (Symphony No. 1), uses quartal harmony throughout (Orbón 1987,
83)
Sinfonía india (Symphony No. 2), the A-minor Sonora melody beginning in b. 183 is
accompanied by quartal harmonies (Leyva 2010, 56)

Aaron Copland

Of Mice and Men (Bick 2005, 446, 448, 451)

Claude Debussy

"La cathédrale
engloutie", beginning
and ending (Reisberg
1975, 343–44)

Norman Dello Joio

Parallel fourths evoking organum in Debussy's "The Sunken Cathedral"
Suite for Piano
opening Play (Reisberg 1975, 343–44)

Caspar Diethelm

Piano Sonata No. 7 (Kroeger 1969)

Alberto Ginastera

12 American Preludes, Prelude #7

Carlos Guastavino

"Donde habite el olvido" (Kulp 2006, 207)

Howard Hanson

Symphony No. 2 ("Romantic") (Perone 1993, 8)

Walter Hartley

Bacchanalia for Band (Spieth 1978)

Charles Ives

"The Cage" (1906) (Carr 1989, 135; Lambert 1990, 44; Lambert 1996, 118; Murphy 2008,
179, 181, 183, 185–86, 190–91; Reisberg 1975, 344–45; Scott 1994, 458)
Central Park in the Dark (Scott 1994, 458)
"Harpalus" (Scott 1994, 458)
Psalm 24, verse 5 (Lambert 1990, 67; Scott 1994, 458)
Psalm 90 (Scott 1994, 458)
"Walking" (Scott 1994, 458)

Aram Khachaturian

Toccata
Benjamin Lees

String Quartet No. 2, Adagio (Cowell 1956, 243)

Darius Milhaud

Sonatina for flute & piano, Op. 76 (Cardew-Fanning n.d.)

Walter Piston

Clarinet Concerto (Archibald 1969, 825)

Ricercare for Orchestra (Archibald 1969, 825)

Einojuhani Rautavaara

"Kvartit" (Fourths), Op. 42, Études (Rautavaara)

Maurice Ravel

Ma mère l'oye : "Mouvt de Marche" of "Laideronnette" (Murphy, Melcher, and Warch

1973,)

Ned Rorem

King Midas, cantata (Sjoerdsma 1972)

Erik Satie

Le Fils des étoiles (Carpenter n.d.; Reisberg 1975, 347)

Arnold Schoenberg

The Book of the Hanging Gardens (Domek 1979, 112–13, 117)

Chamber Symphony, Op. 9 (Reisberg 1975, 344–45; Sanderson n.d.), slow section
(Rubin 2005), b. 1–3 (Lambert 1990, 68)
Wind Quintet, op. 26 (Corson and Christensen 1984)

Cyril Scott

Diatonic Study (1914) (Stein 1979, 18)

Nikos Skalkottas

Suite No. 3 for Piano (Dickinson 1963)

Stephen Sondheim

Piano Sonata (Swayne 2002, 285–87, 290)

Karlheinz Stockhausen

Klavierstück IX (Reisberg 1975, 349–50)

Howard Swanson
 "Saw a Grave" (Moe 1981–82, 70)

Heitor Villa-Lobos

Nonet (1923) (Béhague 1994, 70, 72)

Anton Webern

Variations for Piano, Op. 27 (Reisberg 1975, 348)

John Williams

Star Wars - Main Title (1977)[1]

Superman - Main Title (1978)[2]

Jazz
Miles Davis

Kind of Blue

Herbie Hancock

"Maiden Voyage"

Eddie Harris

"Freedom Jazz Dance"

McCoy Tyner

"Contemplation"
"Passion Dance"

Folk
On her 1968 debut album Song to a Seagull, Joni Mitchell used quartal and quintal harmony in
"Dawntreader", and she used quintal harmony in the title track Song to a Seagull (Whitesell 2008,
131 and 202–203).

Rock
Emerson, Lake & Palmer

Tarkus (Macon 1997, 55)

Frank Zappa

"Zoot Allures" (Mermikides 2014, 31)

 XTC

"Rook" (composed by Andy Partridge, from the album Nonsuch) (Anon. n.d.)

See also
Secundal
Polychord
Viennese trichord
Traditional sub-Saharan African harmony

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Solomonsmusic.net (accessed 18 March 2016).
Spieth, Donald (1978). "Bacchanalia for Band by Walter S. Hartley". Notes, second series 34,
no. 4 (June): 974.
Stein, Leon (1979). Structure & Style: The Study and Analysis of Musical Forms, second
expanded edition. Princeton, N.J.: Summy-Birchard Music. ISBN 978-0-87487-164-7.
Swayne, Steve (2002). "Sondheim's Piano Sonata". Journal of the Royal Musical Association
127, no. 2:258–304.
Vogel, Martin (1962). Der Tristan-Akkord und die Krise der modernen Harmonielehre
Webern, Anton (1963). Willi Reich (ed.). The Path to the New Music. Translated by Leo Black.
Bryn Mawr: Theodore Presser, in association with Universal Edition.
Whitesell, Lloyd (2008). The Music of Joni Mitchell (https://books.google.com/books?id=xSmJb
cWcYA0C&q=Joni%20Mitchell&pg=PP1). Oxford and New York: Oxford University Press.
ISBN 978-0-19-530757-3.

Further reading
Baker, David N. (1983). Jazz Improvisation. Bloomington: Frangipani. ISBN 978-0-89917-397-
9.
 Floirat, Bernard (https://independent.academia.edu/BernardFLOIRAT) (2015). Introduction aux
accords de quartes chez Arnold Schoenberg (https://www.academia.edu/12232101/Introductio
n_aux_accords_de_quartes_chez_Arnold_Sch%C5%93nberg), Paris, www.academia.edu.
Rosenthal, David H. (1993). Hard Bop, Jazz and Black Music 1955–1965. New York: Oxford
University Press. ISBN 978-0-19-508556-3.

External links
Quartal harmony with notes and listening examples (http://www.d.umn.edu/~jrubin1/JHR%20Q
uartal%201.htm)
Program notes for Arnold Schoenberg's Chamber Symphony for 15 Solo Instruments op. 9 (htt
ps://web.archive.org/web/20060503155941/http://www.schoenberg.at/6_archiv/music/works/op
/compositions_op9_notes_e.htm)
The Use of Quartal Harmony in Jazz Guitar (http://www.jazzguitar.be/blog/quartal-chords-harm
ony-voicings-for-guitar/)

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