Thnks much, Jens, for a great lesson. I used the pedal point bass lots to keep the root of the chord in my ear. I tuned my guitar to P4 a few years ago and find it very useful in reducing the number of chord fingerings i need to learn. They repeat when you move up a octave. Have had to change my style somewhat from a strummer/bar chord using player to a shell voicing finger-picker! For me it works very well especially with quartal harmony. Very pleasing sounds are produced w what feels like little stretching and effort.
One more thing-kinda wish I'd begun q harmony studies on guitar using 3 note voicings. Started 4 four note a few months ago and many of the voicings always sounded muddy, too close intervalicly. The 3 note voicings sound clearer n cleaner. One can jump vertically higher or lower to grab 3 note v quartal extensions n not play 4 ( or 5or 6) notes all at once. In P4 tuning a beautiful 6 note rootless 13 chord is found fretting all 6 string one fret down from what would be the root. One can then jump vertically on the same fret using the preferd 3 note voicings.I'd compare the 3 to 4 note voicings as shell voicing to full bar chords. Hope that's clear.
I am sure you would come across that F7 F7alt transition if you just messed around with it a bit more. Great that you sit down and work with it!! That's a huge compliment!
+jazzandlatin You're welcome! If you try to figure them out yourself you will learn them faster, use mine as examples of how it works and learn that so you don't need to learn too much stuff by heart! 😊
thank you so so so much! Always been fascinated by the sound of quartal harmony, great that I understand it more now! Definitely going to check out your other ones! :D
I've been studying these voicings Jens and I find them very refreshing and adds an original sounding twist to the Jazz blues . Thanks again for a great video . Will be passing on the ideas to my guitar students if that's ok ! Cheers have a great weekend Gary
Jens thanks I am glad I found this video it’s specifically what I was looking for. Can you expand the chord voicings for 4 notes and the construction formulas? Have you ever played them as inversions or in spread form? Or with no root and instead with a 9th in the bass?
You do loose the sound like that. I guess it is similar to a melody where it might be a major triad not for note, but if you play an inversion then it is a different melody?
@@JensLarsen I'm using them as little chord voicings, much like how you comped in the mode over a constant bass note. Also any two adjacent 3 note 4th voicings implies its own pentatonic scale.
Say you start with 2 three-note 4th voicings: from bottom to top D G C and E A D. All 5 notes of the C major pentatonic are there. Take those 2 voicings and invert them: G C D, and A D E, then C D G and D E A. Now you have 6 voicings, (two of which have D as the top note) and you've harmonized the pentatonic scale. I particularly like the quartal pair E A D and F B E which yields the scale D E F A B or Dm6/9.
Great lesson as Always :) Through Your lessons I'm going deeper than what I Thought at first! I have two questions about playing melodies harmonized with quartal harmony. Think of block chords of 3 notes. 1. Play a melody on the higher string that fits perfectly the harmony below. Now, if chords below are dimished and half-diminished, sometimes notes on second and third strings of our quartal voicings match the underlying harmony; sometimes they do not, so in that case You still have at least one or two melodies INSIDE and one OUTSIDE. 2. Similarly, if You have a diminished chord or an altered chord, take one of thoes previous voicings and move it up or down in minor thirds as in "usual" harmoy for thirds: so You still get the higher string with at least one INSIDE melody and at least one OUTSIDE line. Is that weird way too much? In fact You could get chords with a major third at top and a 4ht at bottom. Or still is something You can play? Thanks in advance for any answer :)
@@JensLarsen 2. In harmony in thirds, suppose you have a voicing of a G 7 9b and then move it a minor third up or down: we know it always works. Now suppose that your voicing is derived from quartal harmonization (and It Is Just 3 notes=3 stringe), still moving it a minor third up or down: You are moving your melody (higher string) in a way that fits the harmony but the underlying notes maybe won't: could think of this like if an INSIDE melody doubled by one (or even two) OUTSIDE melody running parallel to the first One? I know it's an odd question, sorry!
That's not actually true in 3rd harmony either, and there for not always true for quartal voicings either. The key to using quartal voicings is to know what notes are in the voicings and have an idea about how they work over the chord. Setting up rules and not thinking about what you are actually playing does not work. This is also true for 3rd based harmony. If we could make music with rules there would be an app :)
@@JensLarsen ok, thanks Jens, that were two questions I needed to ask :) I still have to figure out the possibilities of quartal harmony in my hands and in my ears :)
great 25 years ago I was just starting to practise quartal harmony and touching on getting things under my fingers and then SMACK!! LOL it's 25 years later and I,m here with you and your video's finishing what I started, sometimes something like smack can change the course of your life without you realising you're going to go to some dark places. But I'm just happy to be here! Jens, what is the backing track app you have on your mobile phone again?
That's a heavy story Anthony! I am glad you are around here too! Keep at it! The backing track apps I have are DrumGenius which is a drum loop app that has some really good feels, and then I have iReal which is much more generic but also works as a realbook for chords.
Thanks, Jens, yes sometimes I feel that I wasted the precious life I was given and hope we get another chance to do it right. and I feel I must assimilate new tools quickly because I should be able to play like a 58-year-old should play, but it's all relative in music, I believe physical exercising is the cure for ageing badly and giving up on life
On the other hand, you can only live your life looking forward and improving it which seems to be what you are doing. In the end it comparing yourself to others is meaningless, luckily we are all different.
How do you armonize a major scale in quartal harmony? I dont understand why Bb Eb A works if there isnt a perfect 4th between Eb A, am i missing something? I hope to get an answer, thank you Jens for the lesson.
Hi Dami, Do you know what a diatonic 4th is? If I go I take a Bb major scale and go up 4 notes then I get: Bb - Eb C - F D - G Eb- A F - Bb G - C A - D Does that help?
@@JensLarsen thank You for answering ! Yeah I knew the halfstep relationship between 7alt and I mminor then I saw Db on the video and tried to figure that out. This is one of my favourite channels on UA-cam. Thank You do much.
Great lesson Jens thanks. I am not a keyboard player but I first came across quartal harmony from a book by Frank Mantooth. www.scribd.com/doc/40532735/Frank-Mantooth-Voicings-for-Jazz-Keyboard. I'm sure you would have seen it yourself. I find the diminished theory a bit complicated.
Wow, this is another very helpful clear concise video. Thank you Jens!
Thnks much, Jens, for a great lesson. I used the pedal point bass lots to keep the root of the chord in my ear. I tuned my guitar to P4 a few years ago and find it very useful in reducing the number of chord fingerings i need to learn. They repeat when you move up a octave. Have had to change my style somewhat from a strummer/bar chord using player to a shell voicing finger-picker!
For me it works very well especially with quartal harmony. Very pleasing sounds are produced w what feels like little stretching and effort.
One more thing-kinda wish I'd begun q harmony studies on guitar using 3 note voicings. Started 4 four note a few months ago and many of the voicings always sounded muddy, too close intervalicly. The 3 note voicings sound clearer n cleaner. One can jump vertically higher or lower to grab 3 note v quartal extensions n not play 4 ( or 5or 6) notes all at once. In P4 tuning a beautiful 6 note rootless 13 chord is found fretting all 6 string one fret down from what would be the root. One can then jump vertically on the same fret using the preferd 3 note voicings.I'd compare the 3 to 4 note voicings as shell voicing to full bar chords. Hope that's clear.
After hearing about "quartal harmony" I wanted information. That is clear here, thanks for the lesson I now understand it a little better.
Thanks
Great to hear, Stuart!
Thanks Lens , much appreciated.
another great lesson Mr Larsen!great working example for quartal harmony tht always befuddled me..thank you!
+Nick Iman Thanks Nick! Glad you found it useful!
Good, clear explanation.
Glad you liked it
This stuff gives a very fresh sound.. thanks Jens, once again..!
Glad you like it Franck!
Fun stuff, good to freshen up a dull practice sesssion!!! Thanks!
Thanks! Glad you found it inspiring!
Thank you for this tremendous lesson!
You're very welcome!
Took some time to learn, but very worthwhile. I especially liked that half note shift from F7 to F7alt which I would never have figured out myself.
I am sure you would come across that F7 F7alt transition if you just messed around with it a bit more. Great that you sit down and work with it!! That's a huge compliment!
Such clear and useful content Easy to follow and understand. The PDF download is a wonderful feature - I'm grateful. Thank you.
Thank you Danny! I am very happy you find the videos and the exercises useful! 🙂
My knowledge and technique has improved in weeks after practicing and playing the examples provided...the best channel in my opinion.
This is the very thing that I have been looking for.
Really happy to hear that 👍feel free to ask if you are looking for something 🙂
Your lessons are superb Jens! Thanks so much!
+t r andrews Thank you! I am glad you like the videos! ☺️
Sounds fantastic. Thanks Lars.
Thanks :)
Hi Jens thanks for sharing those major keys to modern jazz ! Hope my brains will keep up with all this material to assimilate :-)
+jazzandlatin You're welcome! If you try to figure them out yourself you will learn them faster, use mine as examples of how it works and learn that so you don't need to learn too much stuff by heart! 😊
Awesome study, great channel with the most clear lessons. Thanks Jens
Thank you very much Bruno! Glad you find them useful 👍🙂
Thank's a lot for your lessons. For me you'r a great teacher and you do It a great job for mi jazz progression. Have a good time .
You're very welcome! I am glad you like the videos!
Thank you! Just what I was looking for. Glad I'm subscribed. Cheers!
I am glad you are subscribed too! And also happy you can use the video! 🙂
This is a great lesson, Jens! Lots of food for thought.
Thanks Brad! :)
thank you so so so much! Always been fascinated by the sound of quartal harmony, great that I understand it more now! Definitely going to check out your other ones! :D
Thank you Ben! Glad you like the video! Feel free to ask on a video if something is unclear!
What a great lesson.Subscribed!
+Ryan Fisher Thank you Ryan! Glad you like it!
I've been studying these voicings Jens and I find them very refreshing and adds an original sounding twist to the Jazz blues . Thanks again for a great video . Will be passing on the ideas to my guitar students if that's ok ! Cheers have a great weekend Gary
Of course Gary! I am glad you can use it for your students!
Terrifc lesson Mr Larson. This will help many people transitioning or new to jazz. Thank you sir.
Thanks Collen! Glad you find it useful! 🙂
Excellent!
Thank you!
great lesson
Thanks Andrew!
merci beaucoup!!
De rien!
Thanks!
Glad it was useful 🙂
And thanks for the donation! I could not see that when I answered you on my phone, but I really appreciate that you want to support the channel!
Jens thanks I am glad I found this video it’s specifically what I was looking for. Can you expand the chord voicings for 4 notes and the construction formulas? Have you ever played them as inversions or in spread form? Or with no root and instead with a 9th in the bass?
You could also invert the three note voicings, which would yield a fourth and a second, and a second and a fourth.
You do loose the sound like that. I guess it is similar to a melody where it might be a major triad not for note, but if you play an inversion then it is a different melody?
@@JensLarsen I'm using them as little chord voicings, much like how you comped in the mode over a constant bass note. Also any two adjacent 3 note 4th voicings implies its own pentatonic scale.
Say you start with 2 three-note 4th voicings: from bottom to top D G C and E A D. All 5 notes of the C major pentatonic are there. Take those 2 voicings and invert them: G C D, and A D E, then C D G and D E A. Now you have 6 voicings, (two of which have D as the top note) and you've harmonized the pentatonic scale. I particularly like the quartal pair E A D and F B E which yields the scale D E F A B or Dm6/9.
Great lesson as Always :) Through Your lessons I'm going deeper than what I Thought at first!
I have two questions about playing melodies harmonized with quartal harmony. Think of block chords of 3 notes.
1. Play a melody on the higher string that fits perfectly the harmony below. Now, if chords below are dimished and half-diminished, sometimes notes on second and third strings of our quartal voicings match the underlying harmony; sometimes they do not, so in that case You still have at least one or two melodies INSIDE and one OUTSIDE.
2. Similarly, if You have a diminished chord or an altered chord, take one of thoes previous voicings and move it up or down in minor thirds as in "usual" harmoy for thirds: so You still get the higher string with at least one INSIDE melody and at least one OUTSIDE line.
Is that weird way too much? In fact You could get chords with a major third at top and a 4ht at bottom.
Or still is something You can play?
Thanks in advance for any answer :)
Thanks! 1: choose voicings that fit the harmony if that sounds better. 2: I don't understand your question? :)
@@JensLarsen 2. In harmony in thirds, suppose you have a voicing of a G 7 9b and then move it a minor third up or down: we know it always works. Now suppose that your voicing is derived from quartal harmonization (and It Is Just 3 notes=3 stringe), still moving it a minor third up or down: You are moving your melody (higher string) in a way that fits the harmony but the underlying notes maybe won't: could think of this like if an INSIDE melody doubled by one (or even two) OUTSIDE melody running parallel to the first One? I know it's an odd question, sorry!
That's not actually true in 3rd harmony either, and there for not always true for quartal voicings either.
The key to using quartal voicings is to know what notes are in the voicings and have an idea about how they work over the chord. Setting up rules and not thinking about what you are actually playing does not work. This is also true for 3rd based harmony.
If we could make music with rules there would be an app :)
@@JensLarsen ok, thanks Jens, that were two questions I needed to ask :) I still have to figure out the possibilities of quartal harmony in my hands and in my ears :)
great 25 years ago I was just starting to practise quartal harmony and touching on getting things under my fingers and then SMACK!! LOL it's 25 years later and I,m here with you and your video's finishing what I started, sometimes something like smack can change the course of your life without you realising you're going to go to some dark places. But I'm just happy to be here! Jens, what is the backing track app you have on your mobile phone again?
That's a heavy story Anthony! I am glad you are around here too! Keep at it!
The backing track apps I have are DrumGenius which is a drum loop app that has some really good feels, and then I have iReal which is much more generic but also works as a realbook for chords.
Thanks, Jens, yes sometimes I feel that I wasted the precious life I was given and hope we get another chance to do it right. and I feel I must assimilate new tools quickly because I should be able to play like a 58-year-old should play, but it's all relative in music, I believe physical exercising is the cure for ageing badly and giving up on life
On the other hand, you can only live your life looking forward and improving it which seems to be what you are doing. In the end it comparing yourself to others is meaningless, luckily we are all different.
Cool stuff. No link for the PDF on your site page.
Indeed! Thanks for the warning! Now it's there! :)
How do you armonize a major scale in quartal harmony? I dont understand why Bb Eb A works if there isnt a perfect 4th between Eb A, am i missing something?
I hope to get an answer, thank you Jens for the lesson.
Hi Dami, Do you know what a diatonic 4th is?
If I go I take a Bb major scale and go up 4 notes then I get:
Bb - Eb
C - F
D - G
Eb- A
F - Bb
G - C
A - D
Does that help?
@@JensLarsen Yes i get it now,
I thought that has to be perfect 4ths, thank you so much again.
Hi Jens! Great video! Just one question: what's the relationship between F7alt and Db melodic minor? Thank you
Do you mean Gb Melodic minor? 🙂
@@JensLarsen thank You for answering ! Yeah I knew the halfstep relationship between 7alt and I mminor then I saw Db on the video and tried to figure that out. This is one of my favourite channels on UA-cam. Thank You do much.
@@Charlzvanz Well, if it isn't Gb then give me a time stamp in the video, and I will have a look :)
Glad this interchange happened, I definitely heard Db melodic minor too
Jens! What is difference in diatonic fourths and pure fourths?
Diatonic 4ths are giving you chords or arpeggios that fit with a scale.
secretos jazz
Gracias!
Thank you. It's easier for me to translate an article using Google translator. I do not understand much by ear. Give please the link.
Sure! I was out on a gig when the video up so i couldn't add the link. It's there now :)
thx :)
Great lesson Jens thanks. I am not a keyboard player but I first came across quartal harmony from a book by Frank Mantooth. www.scribd.com/doc/40532735/Frank-Mantooth-Voicings-for-Jazz-Keyboard. I'm sure you would have seen it yourself. I find the diminished theory a bit complicated.
+geckobaldy Thanks! I almost never use books to learn things, though I do plan to read Schönbergs book on functional harmony at some point ☺️
What education do you have? )
I have a masters degree in Jazz Guitar Performance, which basically is a piece of paper saying that I practiced really a lot for a few years 😁
go places :) Did't you finish the conservatory? :)
If I hadn't finished it I wouldn't have a degree would I?
老爷子的教程非常好，可惜英语差，很多听不怎么懂。
Do you meant the subtitles? 🙂
@@JensLarsen No, it's my English so bad.
Actually some of the videos have real subtitles, that might help? 🙂
@@JensLarsen Yes, very helpful, thank you again。