Quartal and Quintal Harmony

10/9/2014 Quartal and quintal harmony - Wikipedia, the free encyclopedia
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Four note quartal chord Play .
Quartal chord on A equals thirteenth chord
on B, distinguished by the arrangement of
chord factors Play (Benward and Saker
2009, 279).
Quartal and quintal harmony
From Wikipedia, the free encyclopedia
In music, quartal harmony is the building of harmonic structures
with a distinct preference for the intervals of the perfect fourth, the
augmented fourth and the diminished fourth. Quintal harmony is
harmonic structure preferring the perfect fifth, the augmented fifth
and the diminished fifth.
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.
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. Indeed, a circle of fifths can be arranged in fourths
(GCFB etc. are fifths when played downwards and fourths
when played upwards); this is the reason that modern theoreticians
may speak of a "circle of fourths".
Contents
1 Analysis
1.1 Definition
1.2 Analytical difficulties
2 History
2.1 Precursors
2.2 20th- and 21st-century classical music
2.2.1 Schoenberg
2.2.2 Webern, Ives, and Bartk
2.2.3 Hindemith
2.2.4 Others
2.3 Jazz
2.4 Rock music
3 Examples of quartal pieces
3.1 Classical
3.2 Jazz
One possible interpretation of a quartal
chord: fourth suspension, resolving to
dominant seventh and tonic 6/4 chord
Play
Traditional resolution of suspensions to a
major triad and to a minor triad Play
3.2 Jazz
3.3 Folk
3.4 Rock
4 See also
5 References
6 Further reading
7 External links
Analysis
Definition
The concept of quartal harmony outlines a formal harmonic structure based on the use of the interval of a perfect
fourth to form chords. The fourth, thus, substitutes for the third as used in chords based on major and minor thirds.
Although the fourth replaces the third in chords, quartal harmony rarely replaces tertian harmony in full works.
Instead, the two types of harmony are found side-by-side. Since the distance between the lower and the higher
notes of a stack of two perfect fourths is a minor seventh and this interval inverts to a major second, quartal
harmony necessarily also includes these intervals.
Analytical difficulties
A quartal chord composed of the notes C F B may be regarded
using traditional theory as a C dominant seventh chord (with an omitted
fifth) in the midst of a 43 suspension, or as C7sus4 (see suspended
chord), where the fourth does not require resolution. Fsus4, a
suspended second-inversion chord, would also be a plausible label.
Extending quartal chords to four or more notes generates still more
possibilities of a similar nature. The four-note chord C F B E
can be interpreted as a C minor chord with a minor seventh and
embellishing fourth (Cm7add4 or Cm11), or as an inversion of an E-flat
major chord with a second-suspension and embellishing sixth
Esus2(add6), among other interpretations.
The question of which strategy of analysis is advisable is hard to
answer since it is refined by the particular details: given one
interpretation, and the progression of harmony through the
preceding and following chords, and the overall musical
development, is there a comprehensible and audibly functional
meaning to the interpretation? It is important to question whether
these suspensions, chromatic chords and altered chords are
resolved as part of the functional harmony or whether they remain
non-functional and unresolved.
The Tristan chord Play
The Mystic chord
Play
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 tonic 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 very first chord heard in
Wagner's opera Tristan und Isolde. The bottom
two notes make up an augmented fourth; 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; Nattiez 1990,) (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,). Beethoven's use
of the chord is of short duration and it resolves in the accepted manner; whereas Wagner's use lasts much longer
and resolves in a highly unorthodox manner for the time. 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 with which the composer in presenting us. However, fourths become important later
in the opera, especially in the melodic development.
At the beginning of the 20th century, fourth-based chords finally became an important element of harmony.
Scriabin used a self-developed system of transposition using fourth-chords, like his
Mystic chord 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).
Measures 24 to 27 from Mussorgsky's "The Hut on Fowl's Legs"
Play
Quartal harmony in "Laideronnette" from Ravel's Ma mre l'oye. The
top line uses the pentatonic scale (Benward & Saker 2003, 37)
Play
In the 1897 work Paul Dukas's The Sorcerer's Apprentice, we hear 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". Quartal harmony in
Ravel's Sonatine and Ma mre l'oye would follow a few years later.
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, and Anton Webern (Herder 1987,
78).
Schoenberg
Arnold Schoenberg's Chamber Symphony Op. 9 (1906) displays quartal harmony. The work begins not from tonal
harmony, but instead begins with a fictitious tonal centre: the first measures construct a five-part fourth chord with
the notes C F B E A distributed over several instruments. 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 layer a fourth apart).
Six-note horizontal fourth chord in
Arnold Schoenberg's Chamber
Symphony Op. 9
Vertical quartal-harmony in the
opening measures of Arnold
Schoenberg's Chamber Symphony
Op. 9 Play
Quartal chord
from
Schoenberg's
String Quartet
No. 1 Play Quartal harmony from Schoenberg's String Quartet
No. 1 Play
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, 406407). Other examples of quartal harmony
appear in Schoenberg's String Quartet No. 1.
Webern, Ives, and Bartk
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 mut du auch machen!") Shortly after, he wrote his Four Pieces for Violin and Piano Op. 7, using quartal
harmony as a formal principle, which was also used in later works.
Introduction to Ives's "The Cage",
114 Songs (Reisberg 1975, 345).
Play
Uninfluenced by the theoretical and practical work of the Second Viennese School, the American Charles Ives
meanwhile wrote in 1906 a song called "The Cage" (No. 64 of his
collection, 114 songs), in which the piano part contained four-part fourth
chords accompanying a vocal line which moves in whole tones.
Other 20th-century composers, like Bla Bartk with his piano work
Mikrokosmos and Music for Strings, Percussion and Celesta, as well
as Paul Hindemith, Carl Orff and Igor Stravinsky, employed quartal
harmony in their work. These composers joined Romantic elements with
Baroque music, folk songs and their peculiar rhythm and harmony with
the open harmony of fourths and fifths.
Fourths in Bla Bartk's Mikrokosmos V, No. 131, Fourths (Quartes)
Play
Hindemith
Fourth and fifth writing in the second movement of Paul
Hindemith's Mathis der Maler
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, and Almn 2013,
Chapter twenty six: Materials and techniques, Chord
structures, Quartal and secundal harmony, 46970) Play
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 Bla Bartk or the Viennese Franz
Schreker, who both go a similar way to Debussy, Dukas and perhaps also Puccini, are not far off.
British composer Michael Tippett also employed quartal harmonies extensively in works from his middle period.
Examples are his Piano Concerto and the opera The Midsummer Marriage. An almost constant quartal harmony
is used by Bertold Hummel in his Second Symphony of 1966. A similarly obvious example is the work of
Mieczysaw Weinberg. Hermann Schroeder alternated in his works using fragments of Gregorian Chant between
quintal and quartal harmony. Also the Polish composer Witold Lutosawski devised a use that allows many
harmonic combinations to be applied to a single part, having several combinations that may be tried against it, like
fourths with whole tones, tritones with semitones, or other possibilities.
In the first movement of Olivier Messiaen's Turangalla-Symphonie, a six-note combination is constructed in
pieces from fourths and tritones, much like in the music of Schoenberg and Scriabin. Much of Messiaen's work
applies quartal harmony, moderated by his development of what he called "Modes of limited transposition".
A preference for quartal harmony is present in the works of Leo Brouwer (10 Etudes for Guitar), Robert Delanoff
(Zwiegesprche fr Orgel), Ivan Vshnegradsky, Tru Takemitsu (Cross Hatch) and Hanns Eisler (Hollywood-
Elegy). In the 1960s, the use of tone clusters juxtaposing minor and major seconds pushed aside quartal harmony
somewhat. The orchestral work of Gyrgy Ligeti, Atmosphres of 1961, makes extensive use of such sounds. The
works of the Filipino composer Elisio Pajaro (19151984) 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.
The iiVI cadence Play ; the fourth-
suspension or sus chord Play
A typical hard bop brass part, from Horace Silver's "Seor Blues"
The "So What"
chord uses three
intervals of a
fourth.
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). Nevertheless, the older jazz usually handled fourths in the customary manner (as a suspension needing
resolution).
Bebop brought an aesthetic change to modern jazz: the chords
which before had a relative identity (as major and minor,
dominant, etc.) gave way to block transpositions, with a fleeting,
smooth flowing tonality, having the colours of chords blurred
and strongly ambiguous. A prevalent example for this is the
beloved ii-V-I cadence of modern jazz.
In the figure to the right, a traditional cadence is contrasted with
a cadence where a substitution has been made in one of the
inner voices. The inner voice still exhibits normal voice leading
but within the extended harmony of jazz. The multiplicity of possibilities available can be used as a framework for
improvisation. In addition, compositions of this time often had a frantic tempo, allowing more leeway in the harmony
of fleeting chords (because they are not sounding for very long). Quartal harmony was employed throughout the
jazz of the 1940s.
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 previous decade, preferred a moderate tempo.
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 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 with saxophonist John Coltrane's "classic quartet", was influential
throughout this epoch. Oliver Nelson was also known for his use of fourth chord voicings (Corozine 2002, 12).
Floyd claims that the "foundation of 'modern quartal harmony'" began in the era when the Charlie Parkerinfluenced
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
("Skydive"), Pat Martino, Jack Wilkins ("Windows"), Joe Diorio, Howard Roberts ("Impressions"), Kenny Burrell
("So What"), Wes Montgomery ("Little Sunflower"), 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"
Between these intensive experiments with quartal harmony, the search for new applications for it in jazz was quickly
exhausted. Around 1970, quartal harmony had become part of the canon of everyday practice. 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 Template:Boyd.
Disliking the sound of thirds (in
equal-temperament tuning), Robert
Fripp builds chords with perfect
intervals in his new standard tuning.
Rock music
Quartal and quintal harmony have been used by Robert Fripp, who has
described himself as the 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
fifths between its successive open-strings (Mulhern 1986,).
Tarkus by Emerson, Lake & Palmer uses quartal harmony (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, 34446)
Carlos Chvez
Sinfona de Antgona (Symphony No. 1), uses quartal harmony throughout (Orbn 1987, 83)
Sinfona 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 cathdrale engloutie", beginning and ending (Reisberg 1975, 34344)
Parallel fourths evoking organum in Debussy's "The Sunken
Cathedral" opening (Reisberg 1975, 34344). Play
Norman Dello Joio
Suite for Piano
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, 18586, 19091; Reisberg 1975, 34445; 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)
Maurice Ravel
Ma mre l'oye : "Mouvt de Marche" of "Laideronnette" (Murphy, Melcher, and Warch 1973,)
Ned Rorem
King Midas, cantata (Sjoerdsma 1972)
Erik Satie
Le fils des toiles (Carpenter n.d.; Reisberg 1975, 347)
Arnold Schoenberg
The Book of the Hanging Gardens (Domek 1979, 11213, 117)
Chamber Symphony, Op. 9 (Reisberg 1975, 34445; Sanderson n.d.), slow section (Rubin 2005),
b. 13 (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, 28587, 290)
Karlheinz Stockhausen
Klavierstck IX (Reisberg 1975, 34950)
Howard Swanson
"Saw a Grave" (Moe 198182, 70)
Anton Webern
Variations for Piano, Op. 27 (Reisberg 1975, 348)
Jazz
Miles Davis
Kind of Blue (Josh 2010)
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 Seagull (Whitesell 2008, 131 and 202203).
Rock
Emerson, Lake & Palmer
Tarkus (Macon 1997, p. 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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Baker, David N. (1983). Jazz Improvisation. Bloomington: Frangipani. ISBN 0-89917-397-7.
Persichetti, Vincent (1961). Twentieth-century Harmony: Creative Aspects and Practice. New York:
W. W. Norton. ISBN 0-393-09539-8. OCLC 398434 (https://www.worldcat.org/oclc/398434).
Rosenthal, David H. (1993). Hard Bop, Jazz and Black Music 19551965. New York: Oxford University
Press. ISBN 0-19-508556-6.
External links
Quartalharmony with notes and listening examples
(http://www.d.umn.edu/~jrubin1/JHR%20Quartal%201.htm)
Quartal voicing for the guitar (http://www.guitarsessions.com/aug04/jazz.html)
Program notes for Arnold Schoenberg's Chamber Symphony for 15 Solo Instruments op. 9
(http://www.schoenberg.at/6_archiv/music/works/op/compositions_op9_notes_e.htm)
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