quartal permutations over ii v i

8/2/2019 Quartal Permutations Over II v I

http://slidepdf.com/reader/full/quartal-permutations-over-ii-v-i 1/5

Quartal Permutations over ii-V7-I Progressions

with Melodic Ideas and Comping SuggestionsBy 7

b3 = min 3rd interval above root b7 = min 7th interval above root #7 = Maj 7th interval above root

Minor quality voicings:1 11 b7 (m11)

9 5 1 (m9)

11 b7 b3 (m11)

5 8 11 (m11)6 9 5 (m13)

Dominant 7 quality voicings:9 5 1 (9th)

3 6 9 (13th)

6 9 5 (13th)

Major quality voicings:9 5 1 (Maj9)

3 6 9 (Maj6/9)

6 9 5 (Maj6/9)

#7 3 6 (Maj13no11)

ii-V7-I progressions:

C#min 1 11 b7 ( C# F# B ) descend

F#7 9 5 1 ( G# C# F# ) ascendBmaj 9 5 1 ( C# F# B )

C#min 1 11 b7 ( C# F# B ) descendF#7 9 5 1 ( G# C# F# ) descend

Bmaj 3 6 9 ( D# G# C# )

C#min 1 11 b7 ( C# F# B ) descendF#7 9 5 1 ( G# C# F# ) same

Bmaj 6 9 5 ( G# C# F# )


F#7 9 5 1 ( G# C# F# ) ascend

Bmaj #7 3 6 ( A# D# G# )


F#7 3 6 9 ( A# D# G# ) ascend

Bmaj 9 5 1 ( C# F# B )


F#7 3 6 9 ( A# D# G# ) ascendBmaj 3 6 9 ( D# G# C# )


F#7 3 6 9 ( A# D# G# ) descend

Bmaj 6 9 5 ( G# C# F# )


F#7 3 6 9 ( A# D# G# ) sameBmaj #7 3 6 ( A# D# G# )

C#min 1 11 b7 ( C# F# B ) ascend

F#7 6 9 5 ( D# G# C# ) descendBmaj 9 5 1 ( C# F# B )

C#min 1 11 b7 ( C# F# B ) ascendF#7 6 9 5 ( D# G# C# ) same

Bmaj 3 6 9 ( D# G# C# )

C#min 1 11 b7 ( C# F# B ) ascendF#7 6 9 5 ( D# G# C# ) ascend

Bmaj 6 9 5 ( G# C# F# )

C#min 1 11 b7 ( C# F# B ) ascend

F#7 6 9 5 ( D# G# C# ) descend

Bmaj #7 3 6 ( A# D# G# )

C#min 9 5 1 ( D# G# C# ) ascend

F#7 9 5 1 ( G# C# F# ) ascend

Bmaj 9 5 1 ( C# F# B )


F#7 9 5 1 ( G# C# F# ) descendBmaj 3 6 9 ( D# G# C# )


F#7 9 5 1 ( G# C# F# ) same

Bmaj 6 9 5 ( G# C# F# )


F#7 9 5 1 ( G# C# F# ) ascendBmaj #7 3 6 ( A# D# G# )



C#min 9 5 1 ( D# G# C# ) descend

F#7 3 6 9 ( A# D# G# ) ascendBmaj 9 5 1 ( C# F# B )


F#7 3 6 9 ( A# D# G#

) ascendBmaj 3 6 9 ( D# G# C# )


F#7 3 6 9 ( A# D# G# ) descend

Bmaj 6 9 5 ( G# C# F# )


F#7 3 6 9 ( A# D# G# ) same

Bmaj #7 3 6 ( A# D# G# )

C#min 9 5 1 ( D# G# C#

) sameF#7 6 9 5 ( D# G# C# ) descendBmaj 9 5 1 ( C# F# B )

C#min 9 5 1 ( D# G# C# ) sameF#7 6 9 5 ( D# G# C# ) same

Bmaj 3 6 9 ( D# G# C# )

C#min 9 5 1 ( D# G# C# ) sameF#7 6 9 5 ( D# G# C# ) ascend

Bmaj 6 9 5 ( G# C# F# )

C#min 9 5 1 ( D# G# C# ) same

F#7 6 9 5 ( D# G# C# ) descendBmaj #7 3 6 ( A# D# G# )

C#m 11 b7 b3 ( F# B E ) ascendF#7 9 5 1 ( G# C# F# ) ascend

Bmaj 9 5 1 ( C# F# B )

C#m 11 b7 b3 ( F# B E ) ascend

F#7 9 5 1 ( G# C# F# ) descend

Bmaj 3 6 9 ( D# G# C# )


F#7 9 5 1 ( G# C# F# ) same

Bmaj 6 9 5 ( G# C# F# )


F#7 9 5 1 ( G# C# F# ) ascendBmaj #7 3 6 ( A# D# G# )


F#7 3 6 9 ( A# D# G#

) ascendBmaj 9 5 1 ( C# F# B )


F#7 3 6 9 ( A# D# G# ) ascend

Bmaj 3 6 9 ( D# G# C# )


F#7 3 6 9 ( A# D# G# ) descend

Bmaj 6 9 5 ( G# C# F# )

C#m 11 b7 b3 (F# B E

) ascendF#7 3 6 9 ( A# D# G# ) sameBmaj #7 3 6 ( A# D# G# )

C#m 11 b7 b3 ( F# B E ) descendF#7 6 9 5 ( D# G# C# ) descend

Bmaj 9 5 1 ( C# F# B )

C#m 11 b7 b3 ( F# B E ) descendF#7 6 9 5 ( D# G# C# ) same

Bmaj 3 6 9 ( D# G# C# )

C#m 11 b7 b3 ( F# B E ) descend

F#7 6 9 5 ( D# G# C# ) ascendBmaj 6 9 5 ( G# C# F# )

C#m 11 b7 b3 ( F# B E ) descendF#7 6 9 5 ( D# G# C# ) descend

Bmaj #7 3 6 ( A# D# G# )

C#m 5 8 11 ( G# C# F# ) same

F#7 9 5 1 ( G# C# F# ) ascend

Bmaj 9 5 1 ( C# F# B )

C#m 5 8 11 ( G# C# F# ) same

F#7 9 5 1 ( G# C# F# ) descend

Bmaj 3 6 9 ( D# G# C# )



C#m 5 8 11 ( G# C# F# ) same

F#7 9 5 1 ( G# C# F# ) sameBmaj 6 9 5 ( G# C# F# )

C#m 5 8 11 ( G# C# F# ) same

F#7 9 5 1 (G# C# F#

) ascendBmaj #7 3 6 ( A# D# G# )

C#m 5 8 11 ( G# C# F# ) ascend

F#7 3 6 9 ( A# D# G# ) ascend

Bmaj 9 5 1 ( C# F# B )

C#m 5 8 11 ( G# C# F# ) ascend

F#7 3 6 9 ( A# D# G# ) ascend

Bmaj 3 6 9 ( D# G# C# )

C#m 5 8 11 (G# C# F#

) ascendF#7 3 6 9 ( A# D# G# ) descendBmaj 6 9 5 ( G# C# F# )

C#m 5 8 11 ( G# C# F# ) ascendF#7 3 6 9 ( A# D# G# ) same

Bmaj #7 3 6 ( A# D# G# )

C#m 5 8 11 ( G# C# F# ) descendF#7 6 9 5 ( D# G# C# ) descend

Bmaj 9 5 1 ( C# F# B )

C#m 5 8 11 ( G# C# F# ) descend

F#7 6 9 5 ( D# G# C# ) sameBmaj 3 6 9 ( D# G# C# )

C#m 5 8 11 ( G# C# F# ) descendF#7 6 9 5 ( D# G# C# ) ascend

Bmaj 6 9 5 ( G# C# F# )

C#m 5 8 11 ( G# C# F# ) descend

F#7 6 9 5 ( D# G# C# ) descend

Bmaj #7 3 6 ( A# D# G# )

C#m 6 9 5 ( A# D# G# ) descend

F#7 9 5 1 ( G# D# F# ) ascend

Bmaj 9 5 1 ( C# F# B )


F#7 9 5 1 ( G# D# F# ) descendBmaj 3 6 9 ( D# G# C# )


F#7 9 5 1 (G# D# F#

) sameBmaj 6 9 5 ( G# C# F# )


F#7 9 5 1 ( G# D# F# ) ascend

Bmaj #7 3 6 ( A# D# G# )

C#m 6 9 5 ( A# D# G# ) same

F#7 3 6 9 ( A# D# G# ) ascend

Bmaj 9 5 1 ( C# F# B )

C#m 6 9 5 ( A# D# G#

) sameF#7 3 6 9 ( A# D# G# ) ascendBmaj 3 6 9 ( D# G# C# )

C#m 6 9 5 ( A# D# G# ) sameF#7 3 6 9 ( A# D# G# ) descend

Bmaj 6 9 5 ( G# C# F# )

C#m 6 9 5 ( A# D# G# ) sameF#7 3 6 9 ( A# D# G# ) same

Bmaj #7 3 6 ( A# D# G# )

C#m 6 9 5 ( A# D# G# ) ascend

F#7 6 9 5 ( D# G# C# ) descendBmaj 9 5 1 ( C# F# B )

C#m 6 9 5 ( A# D# G# ) ascendF#7 6 9 5 ( D# G# C# ) same

Bmaj 3 6 9 ( D# G# C# )

C#m 6 9 5 ( A# D# G# ) ascend

F#7 6 9 5 ( D# G# C# ) ascend

Bmaj 6 9 5 ( G# C# F# )

C#m 6 9 5 ( A# D# G# ) ascend

F#7 6 9 5 ( D# G# C# ) descend

Bmaj #7 3 6 ( A# D# G# )



Some melodic ideas for quartals!

1. Simple arpeggiation can sound terrific (especially when each chord only gets two beats)

2. Play the following very rapidly in succession over Cm7

Bb F C

C G D

Eb Bb F

F C G

G D A

Bb F C

G D A

F C G

Eb Bb F

C G D

Bb F C

Immediately obvious to any casual observer is the factthat all of the above notes fall into C dorian.

3. Another way to use quartals in a melodic sense is to utilize the "mega-scale" concept

(for those of you unfamiliar with this, please see the "Bopology 101" lesson).

What if we had a scale that was all made up of perfect 4ths???

How about this one:

E A D G C

But HEY! Do you notice what I notice? If you rearrange those notes,

it's the pentatonic scale! ( C D E G A ).

And as all musicians know, YOU CAN USE THE PENTATONIC SCALE OVER ALMOST

EVERYTHING!



Here are some great comping ideas for quartals (mostly for keyboard):

1. Play different quartals in the right and left hands (using contrary motion when possible).

This gives a fuller chord texture and provides more harmonic interest.

example (inC

):

Dm (ii minor) LH: 9 5 1 ( E A D ) RH: 11 b7 b3 ( G C F ) = 1 b3 5 b7 9 11G7 (V7 domin) LH: 3 6 9 ( B E A ) RH: 9 5 1 ( A D G ) = 1 3 5 9 13

CMaj7 (Major7) LH: 6 9 5 ( A D G ) RH: 9 5 1 ( D G C ) = 1 5 6 9

2. Rootless chords in one hand - quartals in the other. Mix and match.

3. Subsitute quartals in the left hand instead of rootless chords.

4. If you don't have a bass player, play your standard walking bass in the left hand

and the appropriate quartals in the right.

(Above recreated with permission from www.jeffreebrent.com; 7’s lesson “Quartals…”

quartal permutations over ii v i

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