Editing Quartal and quintal harmony (section)

===Jazz===
{{listen|filename=Adam Cuerden - Edinburgh in August.mp3|title="Edinburgh in August"|description=In [[Adam Cuerden]]'s "Edinburgh in August", the opening section is made up entirely of quartal chords, which also appear frequently in the piece.}}
Jazz is often understood as a synthesis of the European common practice harmonic vocabulary with textural paradigms from West African folk music—but it would be an oversimplification to describe jazz as sharing the same fundamental theory of harmony as European music. Important influences come from [[opera]] as well as from the instrumental work of Classical- and Romantic-era composers, and even that of the Impressionists. From the beginning, jazz musicians expressed a particular interest in rich harmonic colours, for which non-tertiary harmony was a means of exploration, as used by pianists and [[arranger]]s like [[Jelly Roll Morton]], [[Duke Ellington]], [[Art Tatum]], [[Bill Evans]],{{sfn|Hester|2000|loc=199}} [[Milt Buckner]],{{sfn|Hester|2000|loc=199}} [[Chick Corea]],{{sfn|Herder|1987|loc=78}}{{sfn|Scivales|2005|loc=203}} [[Herbie Hancock]],{{sfn|Herder|1987|loc=78}}{{sfn|Scivales|2005|loc=203}} and especially [[McCoy Tyner]].{{sfn|Herder|1987|loc=78}}{{sfn|Scivales|2005|loc=205}}

[[File:II V I for wikipedia.png|thumb|right|upright=1.4|[[ii–V–I progression|ii–V–I cadence]][[File:II V9 I.MID]]{{nobreak|fourth-suspension or [[sus chord]]}}[[File:II V9sus I.MID]]]]
[[File:SenorBlues.png|thumb|upright=1.8|Typical [[hard bop]] brass part, from [[Horace Silver]]'s "Señor Blues"]]

The [[hard bop]] of the 1950s made new applications of quartal harmony accessible to jazz.{{Citation needed|date=December 2009}} [[Quintet]] writing in which two melodic instruments (commonly trumpet and saxophone) 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 bebop horn sections occur frequently, but these are balanced by bouts of very refined [[polyphony]] such as is found in [[cool jazz]].

[[File:So What chord.png|thumb|upright|The [[So What chord|"So What" chord]] uses three intervals of a fourth.]]

On his watershed record ''[[Kind of Blue]]'', [[Miles Davis]] with pianist [[Bill Evans]] used a chord consisting of three perfect fourth intervals and a major third on the composition "[[So What (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.{{sfn|Levine|1989|loc=97}}

From the outset of the 1960s, the employment of quartal possibilities had become so familiar that the musician now felt the fourth chord existed as a separate entity, self standing and free of any need to resolve. The pioneering of quartal writing in later jazz and rock, like the pianist [[McCoy Tyner]]'s work with saxophonist [[John Coltrane]]'s "classic quartet", was influential throughout this epoch. [[Oliver Nelson]] was also known for his use of fourth chord [[voicing (music)|voicings]].{{sfn|Corozine|2002|loc=12}} Tom Floyd claims that the "foundation of 'modern quartal harmony'" began in the era when the [[Charlie Parker]]–influenced John Coltrane added classically trained pianists Bill Evans and McCoy Tyner to his ensemble.{{sfn|Floyd|2004|loc=4}}{{Clarification needed|reason=Is this referring to Bill Evans playing with the Miles Davis Quintet?|date=July 2022}}

Jazz guitarists cited as using chord voicings using quartal harmony include [[Johnny Smith]], [[Tal Farlow]], [[Chuck Wayne]], [[Barney Kessel]], [[Joe Pass]], [[Jimmy Raney]], [[Wes Montgomery]]—however, all in a traditional manner, as major 9th, 13th and minor 11th chords{{sfn|Floyd|2004|loc=4}} (an octave and fourth equals an 11th). Jazz guitarists cited as using modern quartal harmony include [[Jim Hall (musician)|Jim Hall]] (especially [[Sonny Rollins]]'s ''[[The Bridge (Sonny Rollins album)|The Bridge]]''), [[George Benson]] ("Sky Dive"), [[Pat Martino]], [[Jack Wilkins]] ("Windows"), [[Joe Diorio]], [[Howard Roberts]], [[Kenny Burrell]], [[Wes Montgomery]], [[Henry Johnson (guitarist)|Henry Johnson]], [[Russell Malone]], [[Jimmy Bruno]], [[Howard Alden]], [[Bill Frisell]], [[Paul Bollenback]], [[Mark Whitfield]], and [[Rodney Jones (guitarist)|Rodney Jones]].{{sfn|Floyd|2004|loc=4}}

Quartal harmony was also explored as a possibility under new experimental [[Scale (music)|scale]] models as they were "discovered" by jazz.{{Citation needed|date=December 2009}} Musicians began to work extensively with the so-called [[Mode (music)|church modes]] of old European music, and they became firmly situated in their compositional process. Jazz was well-suited to incorporate the medieval use of fourths to thicken lines into its improvisation. The pianists [[Herbie Hancock]], and [[Chick Corea]] are two musicians well known for their modal experimentation. Around this time, a style known as [[free jazz]] also came into being, in which quartal harmony had extensive use, owing to the wandering nature of its harmony.

[[File:Maiden Voyage2.png|thumb|center|upright=1.8|Fourths in Herbie Hancock's "[[Maiden Voyage (composition)|Maiden Voyage]]"{{citation needed|date=January 2011}}]]

In jazz, the way chords were built from a scale came to be called [[voicing (music)|voicing]], and specifically quartal harmony was referred to as fourth voicing.

[[File:Quartal voicings.png|thumb|center|upright=1.8|[[ii–V–I turnaround]] with fourth voicings: all chords are in fourth voicings.[[File:Quartal voicings.mid]] They are often ambiguous as, for example, the Dm11 and G9sus chords are here voiced identically and will thus be distinguished for the listener by the [[root (chord)|root]] movement of the [[bassist]].{{sfn|Boyd|1997|loc=94}}]]

Thus when the m11 and the dominant 7th sus (9sus above) chords in quartal voicings are used together they tend to "blend into one overall sound" sometimes referred to as modal voicings, and both may be applied where the m11 chord is called for during extended periods such as the entire chorus.{{sfn|Boyd|1997|loc=95}}