In the example below, you can see I’ve built a quartal starting on the 9th. In the right-hand, add a quartal starting on the 9th.The Quartal & Pentatonic Improvisation DVD comes with a handy chart that makes it easy to pick out the quartals. Otherwise, without a root, the chord might sound like an E chord or many others. We keep the C, the root, so that our ears know which chord it is. We need the E and B to know that the quality of this chord is a Major seventh. I removed the G, which is the fifth, because it does not define the quality of the chord. The first step is to remove unnecessary notes from the block chord to create a “shell”. Now, let’s “spice up” our C Major 7th chord by adding some quartals. E-G-C is first inversion and G-C-E is second inversion. An inversion is one way of quickly creating a new voicing for a chord and that is exactly what I just did to the C Major triad. If we play C-E-G, E-G-C or G-C-E, we have played the triad in three different voicings. For example a C Major triad is C, E and G. This process is called creating new voicings. We can add a lot of spice to our chords by replacing or re-arranging the notes of our chords. Triads are another example of a tertial chord voicing. This is called a tertial chord voicing because it is made up of only thirds.Ĭreating chords using only stacked thirds is a fine way of making chords, but after a while they sound bland to the ears.
It is called a block chord because it sounds “blocky” but also because it is built by stacking thirds on top of one another. You’ll notice that I referred to the chord as a block chord. The plain ‘ol “block” chord for C Maj 7 is C-E-G-B.Ĭ is the root, E is the third, G is the fifth and B is the seventh. C-F-Bb played together becomes a quartal.īefore adding quartals to our chords, let’s break down the basic C Major 7th chord. If we add another perfect fourth above F, we’d get Bb. The interval from C to F is a perfect fourth. It is two perfect fourths stacked on top of one another.
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