{"id":13710,"date":"2016-09-07T00:00:00","date_gmt":"2016-09-07T08:00:00","guid":{"rendered":"http:\/\/www.hearandplay.com\/main\/?p=13710"},"modified":"2024-10-07T17:27:02","modified_gmt":"2024-10-08T01:27:02","slug":"essential-quartal-triads","status":"publish","type":"post","link":"https:\/\/hearplaymain.wpenginepowered.com\/essential-quartal-triads\/","title":{"rendered":"Essential Quartal Triads You Must Know As A Gospel Or Jazz Musician"},"content":{"rendered":"

Quartal triads are an essential part of the chordal vocabulary of serious jazz and gospel musicians.<\/p>\n

From the 1960s till date, musicians have voiced several classes of chords in fourth intervals, which is absolutely different from the traditional way of voicing them using third intervals (aka – “tertian harmony”.) A regular example of such voicings is the voicing of the Dmin11 chord:
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\n…in Miles Davis’ album Kind of Blue,<\/em> commonly known as the so what <\/em>chord.<\/p>\n

Gospel musicians aren’t left behind! It’s common to see an advanced gospel keyboardist voice the C6[add9] chord:
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\n…in fourths:
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\nIn this lesson, I’ll be showing you essential quartal triads that you must not be without. But before we go into all of that, let’s do a review on triads.<\/p>\n

A Short Note On Triads<\/h2>\n

A triad is basically a collection of three <\/strong>related notes<\/em> played\/heard together. Keywords like three, related, and together are too important to the definition of a triad for us to overlook. Let’s deal with them before we proceed.<\/p>\n

“…Three…”<\/em><\/h3>\n

In the word triad, the prefix tri <\/em>suggests three. Although a triad can have as much as four notes when one the tones is duplicated, it takes three notes to form a triad.<\/p>\n

“…Related…”<\/em><\/h3>\n

It’s also important to note that the three notes that make up a triad (aka – “chord tones”) must be related in two ways:<\/p>\n