Quartal and quintal harmony

Fourth chord redirects here. For other uses, see 1 History

Eleventh chord Fourth.
In music, quartal harmony is the building of harmonic In the Middle Ages, simultaneous notes a fourth apart
were heard as a consonance. During the common prac-
tice period (between about 1600 and 1900), this inter-
val came to be heard either as a dissonance (when ap-
pearing 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 fth of the chord). In
the later 19th century, during the breakdown of tonal-
ity 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.
Four note quartal chord Play .

structures with a distinct preference for the intervals 1.1 Precursors

of the perfect fourth, the augmented fourth and the
diminished fourth. Quintal harmony is harmonic struc-
ture preferring the perfect fth, the augmented fth and
the diminished fth.

The Tristan chord Play

The Tristan chord is made up of the notes F, B, D

Quartal chord on A equals thirteenth chord on B, distinguished
by the arrangement of chord factors Play (Benward and Saker
2009, 279).
Use of the terms quartal and quintal arises from a con-
trast, 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 con-
stitute the basic structural elements of the harmony.
Quintal harmony (the harmonic layering of fths specif-
ically) is a lesser-used term, and since the fth is the
inversion or complement of the fourth, it is usually con-
sidered indistinct from quartal harmony. Indeed, a circle
of fths can be arranged in fourths (GCFB etc.
are fths when played downwards and fourths when
played upwards); this is the reason that modern theoreti-
cians may speak of a circle of fourths.
and G and is the very rst chord heard in Wagner's
opera Tristan und Isolde. The bottom two notes make
up an augmented fourth; the upper two make up a per-
fect fourth. This layering of fourths in this context has
been seen as highly signicant. The chord had been found
in earlier works (Vogel 1962, 12; Nattiez 1990, ) (no-
tably Beethoven's Piano Sonata No. 18) but Wagners
use was signicant, rst because it is seen as moving
away from traditional tonal harmony and even towards
atonality, and second because with this chord Wagner ac-
tually provoked the sound or structure of musical har-
mony to become more predominant than its function, a
notion which was soon after to be explored by Debussy
and others (Erickson 1975, ). Beethovens use of the
chord is of short duration and it resolves in the accepted
manner; whereas Wagners use lasts much longer and re-
solves in a highly unorthodox manner for the time. De-
spite the layering of fourths, it is rare to nd musicolo-
gists identifying this chord as quartal harmony or even
as proto-quartal harmony, since Wagners musical lan-
guage is still essentially built on thirds, and even an or-

1
2 1 HISTORY

dinary dominant seventh chord can be laid out as aug- In France, Erik Satie experimented with planing in the
mented fourth plus perfect fourth (F-B-D-G). Wagners stacked fourths (not all perfect) of his 1891 score for Le
unusual chord is really a device to draw the listener into Fils des toiles (Solomon 2003).
the musical-dramatic argument which the composer is In the 1897 work Paul Dukas's The Sorcerers Apprentice,
presenting to us. However, fourths become important we hear a rising repetition in fourths, as the tireless work
later in the opera, especially in the melodic development.of out-of-control walking brooms causes the water level
At the beginning of the 20th century, fourth-based chords in the house to rise and rise. Quartal harmony in Ravels
nally became an important element of harmony. Sonatine and Ma mre l'oye would follow a few years later.

1.2 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).

The Mystic chord Play
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 ter-
tian passages, often passing between systems, for exam-
ple widening the six-note quartal sonority (C F B
E A D) into a seven-note chord (C F B E A
D G).
Scriabins sketches for his unnished 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 Mussorgskys "The Hut on Fowls Legs"
Play
1.2.1 Schoenberg
Arnold Schoenberg's Chamber Symphony Op. 9 (1906)
displays quartal harmony: the rst measures construct a
ve-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).
Schoenberg was also one of the rst to write on the theo-
retical 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 man-
ifest 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 possi-
ble, as I said, accommodation of all phenomena of har-
mony (Schoenberg 1978, 406407).
1.2.2 Webern, Ives, and Bartk

For Anton Webern, the importance of quartal harmony

lay in the possibility of building new sounds. After hear-
ing Schoenbergs Chamber Symphony, Webern wrote
You must write something like that, too!" (Webern
1963, 48; So was mut du auch machen!")

1.2.3 Hindemith

Hindemith constructed large parts of his symphonic work

Symphony: Mathis der Maler by means of fourth and fth
Quartal harmony in Laideronnette from Ravels Ma mre l'oye. intervals. These steps are a restructuring of fourth chords
The top line uses the pentatonic scale (Benward & Saker 2003, (C D G becomes the fourth chord D G C), or other
37) Play mixtures of fourths and fths (D A D G C in
1.3 Jazz
Introduction to Ivess The Cage, 114 Songs (Reisberg 1975,
345). Play
Fourths in Bla Bartks Mikrokosmos V, No. 131, Fourths
(Quartes) Play
Fourth and fth writing in the second movement of Paul Hin-
demiths Mathis der Maler
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 tonal-
ity, 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 pri-
mary 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 rst, then the fth and
the third, and then the fourth. The strongest and most
unique harmonic interval after the octave is the fth, the
prettiest nevertheless is the third by right of the chordal
eects of its Combination tones.
1.2.4 Others
In his Theory of Harmony (Schoenberg 1978, 407): Be-
sides 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 o. The iiVI cadence Play ; the fourth-suspension or sus chord
The works of the Filipino composer Eliseo M. Pajaro
3
Quartal harmony in Hindemiths Flute Sonata, II with tonal cen-
ter on B established by descent in left hand in dorian and repeated
Bs and F's (Kostka, Payne, and Almn 2013, Chapter twenty
six: Materials and techniques, Chord structures, Quartal and se-
cundal harmony, 46970) Play
(19151984) are characterised by quartal and quintal har-
monies, as well as by dissonant counterpoint and poly-
chords (Kasilag 2001).
As a transition to the history of jazz, George Gershwin
may be mentioned. In the rst 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.
1.3 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 inuences 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).
Play
4 1 HISTORY

tal harmony include Johnny Smith, Tal Farlow, Chuck

A typical hard bop brass part, from Horace Silver's Seor Blues
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 sax-
ophone) 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 be-
bop horn sections occur frequently, but these are balanced
by bouts of very rened polyphony such as is found in cool
jazz.
Wayne, Barney Kessel, Joe Pass, Jimmy Raney, Wes
Montgomery, however all in a traditional manner, as ma-
jor 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 Bur-
rell (So What), Wes Montgomery (Little Sunower),
Henry Johnson, Russell Malone, Jimmy Bruno, Howard
Alden, Paul Bollenback, Mark Whiteld, and Rodney
Jones (Floyd 2004, 4).
Quartal harmony was also explored as a possibility un-
der new experimental scale models as they were dis-
covered by jazz. Musicians began to work extensively
with the so-called church modes of old European mu-
sic, and they became rmly situated in their composi-
tional process. Jazz was well-suited to incorporate the
medieval use of fourths to thicken lines into its impro-
visation. The pianists Herbie Hancock, and Chick Corea
are two musicians well known for their modal experimen-
tation. 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 Hancocks "Maiden Voyage"

The So What chord uses three intervals of a fourth.

In jazz, the way chords were built from a scale came to
On his watershed record Kind of Blue, Miles Davis with be called voicing, and specically quartal harmony was
pianist Bill Evans used a chord consisting of three perfect referred to as fourth voicing.
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 quar-
tal possibilities had become so familiar that the musi-
cian now felt the fourth chord existed as a separate en- ii-V-I turnaround with fourth voicings: all chords are in fourth
tity, self standing and free of any need to resolve. The voicings Play ; They are often ambiguous as, for example, the
pioneering of quartal writing in later jazz and rock, like Dm11 and G9sus chords are here voiced identically and will
the pianist McCoy Tyner's work with saxophonist John thus be distinguished for the listener by the root movement of the
bassist (Boyd 1997, 94)
Coltrane's classic quartet, was inuential throughout
this epoch. Oliver Nelson was also known for his use of
fourth chord voicings (Corozine 2002, 12). Floyd claims Thus when the m11 and the dominant 7th sus (9sus
that the foundation of 'modern quartal harmony'" be- above) chords in quartal voicings are used together they
gan in the era when the Charlie Parkerinuenced John tend to blend into one overall sound sometimes referred
Coltrane added classically trained pianists Bill Evans andto as modal voicings, and both may be applied where the
McCoy Tyner to his ensemble (Floyd 2004, 4). m11 chord is called for during extended periods such as
Jazz guitarists cited as using chord voicings using quar- the entire chorus (Boyd 1997, 95).
2.1 Classical 5

Sinfona de Antgona (Symphony

No. 1), uses quartal harmony
throughout (Orbn 1987, 83)
Sinfona india (Symphony No. 2),
the A-minor Sonora melody begin-
ning in b. 183 is accompanied
by quartal harmonies (Leyva 2010,
56)

Aaron Copland

Of Mice and Men (Bick 2005, 446,

448, 451)
Disliking the sound of thirds (in equal-temperament tuning),
Robert Fripp builds chords with perfect intervals in his new stan-
dard tuning.

1.4 Rock music

See also: Progressive rock and Symphonic rock

Parallel fourths evoking organum in Debussys The Sunken
Cathedral opening (Reisberg 1975, 34344)
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 espe- Claude Debussy
cially major thirds in equal temperament tuning, which is
used by non-experimental guitars. Of course, just into- "La cathdrale engloutie", begin-
nation's perfect octaves, perfect fths, and perfect fourths ning and ending (Reisberg 1975,
are well approximated in equal temperament tuning, and 34344)
perfect fths and octaves are highly consonant intervals.
Fripp builds chords using perfect fths, fourths, and oc-
Norman Dello Joio
taves in his new standard tuning (NST), a regular tuning
having perfect fths between its successive open-strings
(Mulhern 1986, ). Suite for Piano

Tarkus by Emerson, Lake & Palmer uses quartal harmony

Caspar Diethelm
(Macon 1997, 55).
Piano Sonata No. 7 (Kroeger 1969)

2 Examples of quartal pieces Alberto Ginastera

2.1 Classical 12 American Preludes, Prelude #7

William Albright Carlos Guastavino

Sonata for Alto Saxophone and Pi- Donde habite el olvido (Kulp
ano (Lewis 1985, 443) 2006, 207)

Howard Hanson
Alban Berg

Symphony No. 2 (Romantic)

Sonata for Piano, op. 1 (Lambert (Perone 1993, 8)
1996, 118)
Wozzeck (Lambert 1996, 118; Walter Hartley
Reisberg 1975, 34446)
Bacchanalia for Band (Spieth
Carlos Chvez 1978)
6 2 EXAMPLES OF QUARTAL PIECES

Charles Ives The Book of the Hanging Gardens

(Domek 1979, 11213, 117)
The Cage (1906) (Carr 1989, Chamber Symphony, Op. 9
135; Lambert 1990, 44; Lambert (Reisberg 1975, 34445;
1996, 118; Murphy 2008, 179, Sanderson n.d.), slow section
181, 183, 18586, 19091; (Rubin 2005), b. 13 (Lambert
Reisberg 1975, 34445; Scott 1990, 68)
1994, 458) Wind Quintet, op. 26 (Corson and
Central Park in the Dark (Scott Christensen 1984)
1994, 458)
Harpalus (Scott 1994, 458) Cyril Scott
Psalm 24, verse 5 (Lambert 1990,
67; Scott 1994, 458) Diatonic Study (1914) (Stein 1979,
Psalm 90 (Scott 1994, 458) 18)
Walking (Scott 1994, 458)
Nikos Skalkottas
Aram Khachaturian
Suite No. 3 for Piano (Dickinson
Toccata 1963)

Benjamin Lees Stephen Sondheim

String Quartet No. 2, Adagio Piano Sonata (Swayne 2002, 285

(Cowell 1956, 243) 87, 290)

Darius Milhaud Karlheinz Stockhausen

Sonatina for ute & piano, Op. 76 Klavierstck IX (Reisberg 1975,

(Cardew-Fanning n.d.) 34950)

Walter Piston Howard Swanson

Clarinet Concerto (Archibald Saw a Grave (Moe & 198182,

1969, 825) 70)
Ricercare for Orchestra (Archibald
1969, 825) Heitor Villa-Lobos

Maurice Ravel Nonet (1923) (Bhague 1994, 70,

72)
Ma mre l'oye : Mouvt de
Marche of Laideronnette Anton Webern
(Murphy, Melcher, and Warch
1973, )
Variations for Piano, Op. 27
(Reisberg 1975, 348)
Ned Rorem

King Midas, cantata (Sjoerdsma 2.2 Jazz

1972)
Miles Davis
Erik Satie
Kind of Blue
Le Fils des toiles (Carpenter n.d.;
Reisberg 1975, 347) Herbie Hancock

Arnold Schoenberg Maiden Voyage

 7

Eddie Harris Benward, Bruce, and Nadine Saker (2009). Music

in Theory and Practice, Vol. II. ISBN 978-0-07-
Freedom Jazz Dance 310188-0.
Bick, Sally (2005). "Of Mice and Men: Copland,
McCoy Tyner Hollywood, and American Musical Modernism.
American Music 23, no. 4 (Winter): 42672.
Contemplation Boyd, Bill (1997). Jazz Chord Progressions. ISBN
Passion Dance 0-7935-7038-7.
Cardew-Fanning, Neil (n.d.). "Sonatina for ute &
2.3 Folk piano, Op. 76", AllMusic.com.
Carpenter, Alexander (n.d.). "Le ls des toiles,
On her 1968 debut album Song to a Seagull, Joni Mitchell
Chaldean pastoral, 3 preludes for piano", AllMu-
used quartal and quintal harmony in Dawntreader, and
sic.com.
she used quintal harmony in Seagull (Whitesell 2008, 131
and 202203). Carr, Cassandra I. (1989). Charles Ivess Humor
as Reected in His Songs. American Music 7, no.
2 (Summer): 12339.
2.4 Rock
Corozine, Vince (2002). Arranging Music for the
Emerson, Lake & Palmer Real World: Classical and Commercial Aspects. Pa-
cic, MO: Mel Bay. ISBN 0-7866-4961-5. OCLC
Tarkus (Macon 1997, p. 55) 50470629.
Frank Zappa Corson, Langdon, and Roy Christensen (1984).
Arnold Schoenbergs Woodwind Quintet, op. 26:
"Zoot Allures" (Mermikides 2014, 31)
Background and Analysis. Nashville: Gasparo Co.
XTC Cowell, Henry (1956). Current Chronicle: United
Rook (composed by Andy Partridge, States: New York The Musical Quarterly 42, no. 2
from the album Nonsuch) (Anon. n.d.) (April): 24044.
Dickinson, Peter (1963). Suite for Piano No 3
by Nikos Skalkottas. The Musical Times 104, no.
3 See also 1443 (May): 357.
Domek, Richard C. (1979). Some Aspects of Or-
Secundal ganization in Schoenbergs Book of the Hanging
Polychord Gardens, opus 15. College Music Symposium 19,
no. 2 (Fall): 11128.
Viennese trichord
Erickson, Robert (1975). Sound Structure in Music.
Traditional sub-Saharan African harmony Oakland, California: University of California Press.
ISBN 0-520-02376-5.
Floyd, Tom (2004). Quartal Harmony & Voicings
4 References for Guitar. ISBN 0-7866-6811-3.

Anon. (n.d.). "Rook", ChalkHills.org. Analysis and
guitar tab.
Archibald, Bruce (1969). Variations for Cello and
Orchestra (1966) by Walter Piston; Concerto for
Clarinet and Orchestra (1967) by Walter Piston;
Ricercare for Orchestra (1967) by Walter Piston.
Notes, second series 25, no. 4 (June): 82426.
Bhague, Gerard. 1994. Villa-Lobos: The Search
for Brazils Musical Soul. Austin: Institute of Latin
American Studies, University of Texas at Austin,
1994. ISBN 0-292-70823-8.
Herder, Ronald (1987). 1000 Keyboard Ideas.
ISBN 0-943748-48-8.
Hindemith, Paul (1937). Unterweisung im Tonsatz.
1.
Hester, Karlton E. (2000). From Africa to Afro-
centric Innovations Some Call Jazz": The Creation
of Free, Fusion and Reconstructive Modern Styles
(19502000). ISBN 1-58684-054-1.
Josh (2010) "4th Chords and Quartal Harmony".
FretterVerse.com (30 June, accessed 6 September
2014).
8 4
Kasilag, Lucrecia R. (2001). Pajaro, Eliseo
(Morales)". The New Grove Dictionary of Music and
Musicians, second edition, edited by Stanley Sadie
and John Tyrrell. London: Macmillan Publishers.
Kostka, Stefan, Dorothy Payne, and Byron Almn
(2013). Tonal Harmony with an Introduction to
Twentieth-Century Music (seventh ed.). New York:
McGraw-Hill. pp. 3853. ISBN 978-0-07-
131828-0.
Kroeger, Karl (1969). Caspar Diethelm: Klavier-
sonate VII. Notes, second series 26, no. 2 (Decem-
ber): 363.
Kulp, Jonathan (2006). Carlos Guastavino: A
Re-Evaluation of His Harmonic Language. Latin
American Music Review / Revista de Msica Lati-
noamericana 27, no. 2 (Autumn-Winter): 196
219.
Lambert, J. Philip (1990). Interval Cycles as Com-
positional Resources in the Music of Charles Ives.
Music Theory Spectrum 12, no. 1 (Spring): 4382.
Lambert, J. Phillip (1996). Ives and Berg: 'Nor-
mative' Procedures and Post-Tonal Alternatives. In
Charles Ives and the Classical Tradition, edited by
Georey Block and J. Peter Burkholder, 10530.
New Haven: Yale University Press.
Levine, Mark (1989). The Jazz Piano Book.
Petaluma, CA: Sher Music Co. ISBN 0-9614701-
5-1.
Lewis, Robert Hall (1985). New Music Festival
1985: Bowling Green State University. Perspec-
tives of New Music 24, no. 1 (FallWinter): 440
43.
Leyva, Jesse (2010). Carlos Chvez: An Examina-
tion of His Compositional Style with a Conductors
Analysis of Sinfona India as Arranged for Concert
Band by Frank Erickson. DMA diss. Tempe: Ari-
zona State University.
Macon, Edward L (1997). Rocking the Classics: En-
glish Progressive Rock and the Counterculture. Ox-
ford and New York: Oxford University Press. ISBN
0-19-509887-0..
Mermikides, Milton (2014). Extreme Guitar.
Guitar Techniques magazine, Issue 230.
Moe, Orin (198182). The Songs of Howard
Swanson. Black Music Research Journal 2:5771.
Morrison, S. (1998). Skryabin and the Impossi-
ble. Journal of the American Musicological Society
51, no. 2.
REFERENCES
Mulhern, Tom (1986). "On the Discipline of Craft
and Art: An Interview with Robert Fripp". Guitar
Player 20 (January): 88103 (accessed 8 January
2013).
Murphy, Scott (2008). A Composite Approach to
Ivess 'Cage'". Twentieth-Century Music 5:17993.
Murphy, Howard Ansley, Robert A. Melcher, and
Willard F. Warch, eds. (1973). Music for Study: A
Source Book of Excerpts, second edition. Englewood
Clis, NJ: Prentice-Hall. ISBN 0-13-607515-0.
Nattiez, Jean-Jacques (1990). Music and Discourse:
Toward a Semiology of Music, translated by Car-
olyn Abbate. Princeton, N.J.: Princeton University
Press. ISBN 0-691-02714-5.
Orbn, Julin (1987). Las sinfonas de Carlos
Chvez. (part 2). Pauta: Cuadernos de teora y
crtica musical 6, no. 22 (AprilJune): 8191.
Perone, James E. (1993). Howard Hanson: A Bio-
Bibliography. Westport and London: Greenwood
Press.
Reisberg, Horace (1975). The Vertical Dimension
in Twentieth-Century Music. In Aspects of 20th
Century Music, Gary E. Wittlich, coordinating ed-
itor, 32287. Englewood Clis, NJ: Prentice-Hall.
ISBN 0-13-049346-5.
Rubin, Justin Henry (2005). "Quartal Harmony".
University of Minnesota Duluth website d.umn.edu
(accessed 26 April 2012).
Sanderson, Blair (n.d.). "Arnold Schoenberg: Verk-
lrte Nacht; Chamber Symphony; Variations; 5
Pieces; 6 Songs; Erwartung", AllMusic.com.
Schoenberg, Arnold (1922). Harmonielehre (third
ed.). Vienna: universal edition.
Schoenberg, Arnold (1978). Theory of Harmony.
translated by Roy E. Carter, based on the third edi-
tion (1922). Berkeley and Los Angeles: University
of California Press. ISBN 0-520-04945-4 (cloth);
ISBN 0-520-04944-6 (pbk).
Scivales, Ricardo (2005). Jazz PianoThe Left
Hand. ISBN 1-929009-54-2..
Scott, Ann Besser (1994). Medieval and Renais-
sance Techniques in the Music of Charles Ives: Ho-
ratio at the Bridge?" The Musical Quarterly 78, no.
3 (Autumn): 44878.
Sjoerdsma, Richard Dale (1972). "King Midas;
A Cantata for Voices and Piano on 10 Poems of
Howard Moss by Ned Rorem. Notes, second series
28, no. 4 (June): 782.
Solomon, Larry J. 2003. "Satie, the First Modern".
Solomonsmusic.net (accessed 18 March 2016).
 9

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). Sondheims Piano Sonata.

Journal of the Royal Musical Association 127, no.
2:258304.
Vogel, Martin (1962). Der Tristan-Akkord und die
Krise der modernen Harmonielehre

Webern, Anton (1963). The Path to the New Mu-

sic,. edited by Willi Reich, translated by Leo Black.
Bryn Mawr: Theodore Presser, in association with
Universal Edition.

Whitesell, Lloyd (2008). The Music of Joni Mitchell.

Oxford and New York: Oxford University Press.
ISBN 978-0-19-530757-3.

5 Further reading
Baker, David N. (1983). Jazz Improvisation.
Bloomington: Frangipani. ISBN 0-89917-397-7.
Floirat, Bernard (2015). Introduction aux accords
de quartes chez Arnold Schoenberg, Paris, www.
academia.edu.

Persichetti, Vincent (1961). Twentieth-century Har-

mony: Creative Aspects and Practice. New York: W.
W. Norton. ISBN 0-393-09539-8. OCLC 398434.
Rosenthal, David H. (1993). Hard Bop, Jazz and
Black Music 19551965. New York: Oxford Uni-
versity Press. ISBN 0-19-508556-6.

6 External links
Quartalharmony with notes and listening examples

Quartal voicing for the guitar

Program notes for Arnold Schoenbergs Chamber
Symphony for 15 Solo Instruments op. 9
10 7 TEXT AND IMAGE SOURCES, CONTRIBUTORS, AND LICENSES

7 Text and image sources, contributors, and licenses

7.1 Text
Quartal and quintal harmony Source: https://en.wikipedia.org/wiki/Quartal_and_quintal_harmony?oldid=796866735 Contributors: R
Lowry, Zoicon5, Hyacinth, Ed g2s, Rholton, JackofOz, Snader, Dratman, Mboverload, El C, Jashiin, PWilkinson, Keenan Pepper, Yn-
hockey, Wtmitchell, Woohookitty, TarisWerewolf, Graham87, Melesse, Rjwilmsi, Wahoove, Nihiltres, Ben Tibbetts, Gaius Cornelius,
Kisch, Yahya Abdal-Aziz, Ninly, Tropylium, Pstermeister, SmackBot, David Kernow, Lagringa, Annelid, GuillaumeTell, Allansteel,
Leonardo Teixeira de Oliveira~enwiki, John, Ergative rlt, Rainwarrior, Violncello, Richman271, Impy4ever, 2fs, Blehfu, Taylordonald-
son, CmdrObot, Ken Gallager, Chris83, Ntsimp, PKT, TruthbringerToronto, MarkBuckles, Bobblehead, Sluzzelin, MER-C, PhilKnight,
MegX, Magioladitis, Boris Fernbacher~enwiki, Jerome Kohl, Stratford15, Stusutclie, CommonsDelinker, S.dedalus, Keesiewonder, In-
quam, Flyte35, Biologos, Tsongur, Quantpole, Dwadrum, Porsenna1, Deeperknowledge22, ClueBot, Eric Wester, Witchwooder, Mild
Bill Hiccup, Feline Hymnic, J.Gowers, MatthewVanitas, Addbot, Jafeluv, Redheylin, Squandermania, Yobot, Bucketshred, LilHelpa, Ju-
bileeclipman, 4twenty42o, FrescoBot, Rigaudon, Kiefer.Wolfowitz, Jonesey95, TRBP, Double sharp, Spencerpiers, Mattdeshon, Dana
akba, Outriggr, Ajrdileva, SporkBot, ClueBot NG, Lanthanum-138, Helpful Pixie Bot, Mahlerlover1, ChrisGualtieri, Basemetal, Dexbot,
SteenthIWbot, TheBawbb, Danieljones013, Asukakenji, Shitoryu19, InternetArchiveBot, GreenC bot, Magic links bot and Anonymous:
56

7.2 Images
File:Baby_Yaga_for_wikipedia.png Source: https://upload.wikimedia.org/wikipedia/commons/2/25/Baby_Yaga_for_wikipedia.png
License: CC-BY-SA-3.0 Contributors: ? Original artist: ?
File:Bartok_Mikrokosmos_Quartes_for_wikipedia.png Source: https://upload.wikimedia.org/wikipedia/en/6/6f/Bartok_
Mikrokosmos_Quartes_for_wikipedia.png License: Cc-by-sa-3.0 Contributors: ? Original artist: ?
File:Flat.svg Source: https://upload.wikimedia.org/wikipedia/commons/b/ba/Flat.svg License: Public domain Contributors: 's le Origi-
nal artist:
File:Hindemith,_Flute_Sonata,_II_quartal_harmony.png Source: https://upload.wikimedia.org/wikipedia/en/2/2b/Hindemith%2C_
Flute_Sonata%2C_II_quartal_harmony.png License: Fair use Contributors: ? Original artist: ?
File:II_V_I_for_wikipedia.png Source: https://upload.wikimedia.org/wikipedia/commons/a/a4/II_V_I_for_wikipedia.png License:
CC-BY-SA-3.0 Contributors: ? Original artist: ?
File:Ives_-_114_Songs,_The_Cage_introduction.png Source: https://upload.wikimedia.org/wikipedia/en/9/92/Ives_-_114_Songs%
2C_The_Cage_introduction.png License: Fair use Contributors: ? Original artist: ?
File:Loudspeaker.svg Source: https://upload.wikimedia.org/wikipedia/commons/8/8a/Loudspeaker.svg License: Public domain Contrib-
utors: New version of Image:Loudspeaker.png, by AzaToth and compressed by Hautala Original artist: Nethac DIU, waves corrected by
Zoid
File:Maiden_Voyage2.png Source: https://upload.wikimedia.org/wikipedia/commons/3/3c/Maiden_Voyage2.png License: CC-BY-SA-
3.0 Contributors: Herbie Hancock, edited by Boris Fernbacher2 09:52, 14 March 2006 (UTC) Original artist: Original by Boris Fernbacher,
translation by Rainwarrior. Maiden Voyage originally composed by Herbie Hancock, 1965.
File:MathisMvmt2.png Source: https://upload.wikimedia.org/wikipedia/en/6/61/MathisMvmt2.png License: Cc-by-sa-3.0 Contributors:
? Original artist: ?
File:Mysticchord.png Source: https://upload.wikimedia.org/wikipedia/commons/0/0b/Mysticchord.png License: Public domain Contrib-
utors: ? Original artist: ?
File:Parallel_fourths_evoking_organum_in_Debussy{}s_\char"0022\relax{}The_Sunken_Cathedral\char"0022\relax{}_
opening_02.png Source: https://upload.wikimedia.org/wikipedia/commons/1/16/Parallel_fourths_evoking_organum_in_Debussy%27s_
%22The_Sunken_Cathedral%22_opening_02.png License: Public domain Contributors: Preludes Book 1 Original artist: Debussy
File:Quartal_chord_on_A_equals_thirteenth_chord_on_Bb.png Source: https://upload.wikimedia.org/wikipedia/commons/5/54/
Quartal_chord_on_A_equals_thirteenth_chord_on_Bb.png License: Public domain Contributors: Own work Original artist: Hyacinth at
English Wikipedia
File:Quartal_voicings.png Source: https://upload.wikimedia.org/wikipedia/commons/6/63/Quartal_voicings.png License: CC-BY-SA-
3.0 Contributors: Transferred from en.wikipedia to Commons. Original artist: Hyacinth at English Wikipedia
File:Quarten_Tastenbild_for_wikipedia.png Source: https://upload.wikimedia.org/wikipedia/commons/5/52/Quarten_Tastenbild_
for_wikipedia.png License: GPL Contributors: ? Original artist: ?
File:Ravel_Ma_Mere_l'Oye_Laideronnette.PNG Source: https://upload.wikimedia.org/wikipedia/commons/d/dd/Ravel_Ma_Mere_
l%27Oye_Laideronnette.PNG License: Public domain Contributors: Illustration of quartal harmony in Laideronnette from Maurice
Ravel's (18751937) Ma Mre l'Oye (1910). Original artist: Created by Hyacinth (talk) 18:39, 14 July 2005 using Sibelius 5.
File:Robert_Fripp.jpg Source: https://upload.wikimedia.org/wikipedia/commons/7/7b/Robert_Fripp.jpg License: CC BY-SA 2.0 Con-
tributors: robert fripp Original artist: Sean Coon from Greensboro, USA
File:SchoenbergOp9.png Source: https://upload.wikimedia.org/wikipedia/en/5/51/SchoenbergOp9.png License: Fair use Contributors: ?
Original artist: ?
File:Schnberg_Kammersymhonie_9_for_wikipedia.png Source: https://upload.wikimedia.org/wikipedia/commons/3/36/Sch%C3%
B6nberg_Kammersymhonie_9_for_wikipedia.png License: GPL Contributors: ? Original artist: ?
File:SenorBlues.png Source: https://upload.wikimedia.org/wikipedia/commons/4/43/SenorBlues.png License: Public domain Contribu-
tors: see above Original artist: Horace Silver / DW: own work
File:Sharp.svg Source: https://upload.wikimedia.org/wikipedia/commons/a/a6/Sharp.svg License: Public domain Contributors: 's le
Original artist:
7.3 Content license 11

File:So_What_chord.png Source: https://upload.wikimedia.org/wikipedia/commons/a/ad/So_What_chord.png License: Public domain

Contributors: Own work Original artist: Created by Hyacinth (talk) 02:38, 31 July 2008 using Sibelius and Preview.
File:TristanChord.svg Source: https://upload.wikimedia.org/wikipedia/commons/6/65/TristanChord.svg License: Public domain Con-
tributors: Own work Original artist: Romainbehar

7.3 Content license

Creative Commons Attribution-Share Alike 3.0