The Jazz Guitar Chord Dictionary
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  1. #26

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    E4 is what they use at the long beach state music program. Much better than Em11 in getting someone to play those specific notes. Doesn't work for E A D G B though.

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    The Jazz Guitar Chord Dictionary
     
  3. #27

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    tabs

  4. #28

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    Whenever I write quartal voicings in a tune I try to specify a mode for voicings if applicable. Or else just write out the basic chord, say E-11 and indicate "quartal voicings"

  5. #29

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    Quote Originally Posted by christianm77
    Now behold this horror:

    Attachment 69841

    So this is a chart I did for a tune relatively recently, and looking at it now, it's problematic in all sorts of ways. Is there a better way of writing it? Not sure. There's things to balance against each other and the answers aren't always obvious.

    I wanted sounds like
    x x 5 7 7 5

    but also their four note inversions (otherwise I could just write D/G, right?)

    So its technically correct, but look at those F bars - the melody over the top is drawn from F melodic minor, right? (In practice the soloist could choose minor if there's no 3rds)

    In any case I'm the one playing the chords so I know what I want.
    Mount Inari*? I would call it Corona -- until further notice, all chords are suspended.



    * j/k. I did the climb when I visited Kyoto.

  6. #30

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    Quote Originally Posted by BigDaddyLoveHandles
    Mount Inari*? I would call it Corona -- until further notice, all chords are suspended.



    * j/k. I did the climb when I visited Kyoto.

  7. #31

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    For an exact voicing I feel it's better to write the quartal voicing notes on the staff. Especially as personally I prefer the sound of quartal inversions than stacks of plain fourths.




  8. #32

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    It’s Dsus(triad) over E, I think. It’s a real slash chord.
    Triad over bass note.

    if you wrote Dsus/E, most players would know it’s the so what-chord, and it helps steer the player to the harmony which is Em, probably aeolian, but depends on the melody.

    you could write Dsusadd9.

    others have suggested Em11, that’s common too. I.e. Kenny Wheeler tunes have that chord all over the place.

    If you have seen some Coltrane or Beirach lead sheets, these guys go through great lengths to make it readable for their bandmates. They go as far as spelling out the chord on the staff.

    that’s playing it nice.

    njoy.

  9. #33

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    I find that these type of chords are difficult to name.

    It's a stack of inverted 4ths with a Major 3rd on the bottom.

    Great for playing Lydian improv melodies over.

    It's a great sounding chord that can be played all over the neck, even using open strings, see below:


  10. #34

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    Quintal, Quartal, Septundal and Secundal voicings all basically related.

  11. #35

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    Quote Originally Posted by christianm77
    Quintal, Quartal, Septundal and Secundal voicings all basically related.

    I spent quite a few years playing mainly inverted clusters, basically they are just secundal harmony inverted, so stacked sevenths really. At the moment I play mainly inverted Quartal harmony (5ths), with an additional tertiary note thrown in for good measure. All good fun.

    Debussy, Bartok and many of the "Modern Classical" composers had all this figured out over 100 years ago, but still it can be nice sounding harmony in the right pair of hands.

  12. #36

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    How about 'stack of fourths' as a name? Or 'fourth stack' if you want to get it down to two words?

    Pretty clear, and unambiguous.

  13. #37

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    Quote Originally Posted by GuyBoden
    I spent quite a few years playing mainly inverted clusters, basically they are just secundal harmony inverted, so stacked sevenths really. At the moment I play mainly inverted Quartal harmony (5ths), with an additional tertiary note thrown in for good measure. All good fun.

    Debussy, Bartok and many of the "Modern Classical" composers had all this figured out over 100 years ago, but still it can be nice sounding harmony in the right pair of hands.
    Well triads can be nice sounding harmony in the right hands...

    (I reject the progressive/modernist narrative jazz, especially in harmony. This stuff should have been thrown out in the late 1950s when all the classic Blue Note albums got sniffy reviews from critics who thought Gunther Schuller was the future of jazz. Really?)

    Anyway, a particular pitfall of quartal harmony, (TBF for anything for that matter is that parallel motion, but particularly for quartal stuff to my ears) is while it can be powerful, can get very boring and predictable in the wrong context. (Of course McCoy was an exceptional harmonist and a fantastically sensitive musician so the parallel left hand quartal thing worked amazing for him.)

    It's nice to have suspensions from voicing to voicing for instance. And inverting quartals into other structures can make for good voice leading too.. for instance you may decide in your harmonic world that the major second is a consonance, for instance.

    Also my pet hate in contemporary jazz voicings - overuse parallel seconds in modal intervallic cluster voicings. Ugh. Just no. I hate it when Britten does it, and I hate when jazz guitarists do it too. Even ones I otherwise like.

    Personal taste haha. I'm a voice leading guy.