Editing Quartal and quintal harmony (section)

===Rock music===
[[File:Robert Fripp.jpg|right|thumb|Disliking the sound of thirds (in equal-temperament tuning), Robert Fripp builds chords with perfect intervals in his new standard tuning.]]
{{See also|Progressive rock|Symphonic rock}}

Quartal and quintal harmony have been used by [[Robert Fripp]], [[guitarist]] of [[King Crimson]]. Fripp dislikes minor thirds and especially major thirds in [[equal temperament]] tuning, which is used by non-experimental guitars. The perfect fourths and fifths of [[just intonation]] are well approximated in equal temperament tuning, and perfect fifths and octaves are highly consonant intervals. Fripp builds chords using perfect fifths, fourths, and octaves in his [[new&nbsp;standard tuning]]&nbsp;(NST), a [[regular tuning]] having perfect fifths between its successive [[open string (music)|open string]]s.{{sfn|Mulhern|1986|p={{Page needed|date=January 2013}}}}<!--The specific page citation is needed here; the inclusive page numbers of the interview are found in the list of References, 88–103, so the publication is not unpaginated, even if the version on the weblink is.-->

The 1971 album ''[[Tarkus]]'' by [[Emerson, Lake & Palmer]] depends on quartal harmony throughout,{{sfn|Macan|1997|loc=55}} including a recurrent elaboration on the classical [[Alberti bass]] pattern, in this case consisting of three broken quartal three-note chords, the first two of which are also a perfect fourth apart, and the third a semitone higher than the first. Keith Emerson uses programmatic quintal harmony in several places for extended rapid obbligato passages where human fingering would be impracticable, the first on Hammond organ and the second on Modular Moog, in a similar manner to the mutation stops on pipe organs, such as the "Twelfth" at 2 2/3' pitch played against a 4' "Principal" (which plays the eighth note). In the second instance, the triad is both quartal and quintal, being 1+4+5.

[[Ray Manzarek]] of [[The Doors]] was another keyboard player and composer who put classical and jazz elements, including quartal harmonies, into the service of rock music. The keyboard solo of "[[Riders on the Storm]]", for instance, has several passages where the melody line is doubled at an interval of a perfect fourth, and extensive use of (E dorian) minor chord voicings featuring the seven and three, spaced by that same interval, as the prominent notes.{{citation needed|date=December 2021}}