Question by Amelia
I so love your web-site, I’m a pianist and have recommended it to a guitarist friend.
I’ve spent literally weeks mastering your great Part 1 video on major quartals in all inversions.
Now I’m on Part 2.
- For C min 7, why can’t I use A D G so that it is consistent with the major one ?
Do you ever play inversions for C min 7, C7 etc ? I tried forming some, and some of them sounded weird.
Thanks for your clear teaching, and your generosity.
Thank you for your question(s). Here are the videos on quartal harmony:
(1) In very few words, the Cm7 “chords” in quartal that I suggest in “Quartal Harmony for Jazz Guitar – Part 2” are strictly based on C minor pentatonic scale: C Eb F G Bb C
The two other suggestion (for C7 and for Cmaj7#11) are “less strict” in a way … you can still notice implications of Gm pentatonic on the C7 and some Em pentatonic with an added F# on the Cmaj7#11 …
In the end, it’s just choice that’s I’ve made: sounds that I heard and noticed often enough to create a lesson like this. You may add more chords that you like, or remove those that you don’t like (-:
(2) No. This video is full of ready-made voicing for guitarists where there’s a variety of chords, but yet not enough range for the choices to become overwhelming. I’ve limited it to the “best” few sounds for each chord/scale (only 3 for the dominant, as you’ll notice).
This is a practical approach for guitarists, as they can know immediately “where to put their fingers” to have these … inversions can quickly become messy on the guitar, so this “quartal” approach is a good way to get a few things rolling without worrying about them.
I hope this helps,
“Improve Your Jazz Guitar Playing with a REAL Teacher”
Old Comments for Quartal Harmony – Part 2
Jul 16, 2012
I appreciate your great answer Marc-Andre.
There are not many people who can explain a relatively modern sound so well with such beautiful sounding examples.