Quartal Chords and there application

By Elmond Isaiah

Key Db

Progression:

1 2 3 4 3 2

Play your 1 chord as: F#Msus2

Tonic Solfa of “Draw me Close to you” by Hillsong

Voicing below:

LH: F# G# C# ( quartal chord)

RH: F G# C#

2nd chord as:

Abadd9th

Voicing below:

LH: G# Bb Eb( Quartal chord)

RH: G# Bb C Eb

Play your 3rd as:

Bbmin9th (C#Maj13/Bb)

Voicing below:

LH: Bb C F (quartal chord)

RH: G# C# F

4th chord as:

Abmin11omit5

Voicing below:

LH: B C# F# (quartal chord)

RH: G# Bb C# F#

3rd as:

Bbmin7 (C#6)

Voicing below:

LH: F

RH: G# Bb C# F

2nd chord as:

Ebdim7 (F#min6)

Voicing below:

LH: Eb

RH: A C# Be F# (altered chord)

These chords are even more sweeter when you use your passing notes well.

Note:

The quartal chord is talking only about your left hand… And does not apply to any chord you didn’t see it written in front…

Also, looking at the chords, let’s take the first chord for example:

The left hand played quartal chord while the right hand played just the C# which is enharmonic in nature… It’s as simple. But putting them together will give u F#MajorSus2….

And you don’t have to always use it as your 1 chord. Like I said you can use it… It means only when the song you are playing warrant so…

It’s just chord coloring….

Sus2 or Sus4 chords: Learn them and Apply them to your Playing.

I would like us to talk about what we call Sus2 or Sus4 chords. Never underestimate the power of the Suspended chord.

What then is a Suspended Chord?

A suspended chord is simply replacing the 3rd of mostly a major chord with another note which will either be the 2 or 4 of the scale of the root of the chord.

Example 1:

The CM chord has C+E+G. Now you can replace the E with Either D which is the 2 of the CM scale or F which is the 4 of the CM scale. So instead of C+E+G, you’ll have C+D+G and C+F+G.

Example 2:

The FM chord has FAC. You can replace the 3rd which is A with either G which is the 2 of FM scale or Bb which is the 4 which is the 4 of FM scale.

Tonic solfa of “woship rise” by Travis Greene

Now here are all possible Suspended Chords in a Major Key using the key of C:
1. C sus2 CDG, C sus4 CFG
2. D sus2 DEA, D Sus4 DGA
3. E sus2 EF#B, E sus4 EAB
4. F sus2 FGC, F Sus4 FBbC
5. G Sus2 GAD, G Sus4 GCD
6. A Sus2 ABE, A Sus4 ADE
7. The B Sus chords will be omitted here because most of the notes are outside the CM key or scale.

But, here is what the intermediate and pros like to do; they like to double the note at the top. So your chords would look like

1. C sus2 GCDG, C sus4 CFGC
2. D sus2 ADEA, D Sus4 DGAD
3. E sus2 BEF#B, E sus4 EABA
4. F sus2 CFGC, F Sus4 FBbCF
5. G Sus2 DGAD, G Sus4 GCDG
6. A Sus2 EABE, A Sus4 ADEA

Look at it one way and you have a Sus4 chord. Look at another way and you have a Sus2 chord.
Lesson over for today!

The strength of the 5 preacher’s chord.
Preacher’s chord as the name implies are chords used to back up your pastor during sermon.

They’re varieties of Preacher’s chord but we’ll focus on this ones.
Let’s ride straight in.

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This lesson is in the Key of Ab

Progression: 5-6-3-4-6

LH                      /             RH
Eb+Bb+F          /             Gb+Db+F+Ab
F+C+G            /              Ab+Eb+G+Bb
C+Ab+C         /               E+Bb+C+Eb
Db+Ab+C     /                 F+Bb+C+Eb
F+C+G         /                 G+A+C+E

ROOTLESS CHORDS

As the name implies, “Rootless” means there’s no root in the chord.

Rootless chords are chords without the root present.

It is believed that every chord can be seen as a rootless form of another chord.

How do we locate the rootless form of a chord?

Simple;

Tonic solfa of Oshimiri Atata by Preye Odede

Look deep

Let’s try an example using a normal Cmajor triad as C-E-G

If you look deep you’ll find out that its also a Rootless Amin7[A-C-E-G]

Did you see the Cmaj triad in the Amin7 chord as A/CEG which is A/Cmaj.

Another rootless chord will be Abmaj7#5 [Ab-C-E-G]

Which is simply Ab/C-E-G.

I believe you’re following up?

I guess so:

Let’s try another example using F minor triad as F-Ab-C

Look it at the triad very well you’ll see a Dmin7b5[D-F-Ab-C] chord.

Your ability to locate chords makes this easy.

It can also be seen as a Rootless Dbmaj7 chord as Db-F-Ab-C.

Now you try this.

Find the Rootless form of the following chords

> D minor [D-F-A]

> F7 tetrad [F-A-C-Eb]

> G diminish triad [G-Bb-Db]

> C dim7[C-Eb-Gb-Bbb]

> Ebmin7[Eb-Gb-Bb-Db]

There are several principle for detecting a rootless chord.

Let me share just one today.

“Every Altered dominant chord has its Rootless form a tritone interval away from its root”

Let’s try few example.

E7#5#9 as E-G#-B#-D-Fx [Enharmonically; E-G#-C-D-G] will have its rootless from a tritone away from the root which is E

So the tritone will be Bb.

Adding Bb to the chord we’ll have

Bb + E-G#-C-D-G

Juxtaposing it in stack of 3rd, we’ll have

Bb-D-Ab-C-E-G which is a Bb13#11 chord Harmonize from Bb Overtone scale [Bb-C-D-E-F-G-Ab

Also called Bb Lydian dominant scale or Bb Dominant #4 scale.

In modern music; Rootless chords had evolve from being a chord without the root note present.

Now you see a chord called rootless but the root is present in it but “Not in root position”

An example makes this better.

Cmaj7 in second inversion [EGBC] and third inversion [GBCE] can be termed Rootless.

Because the Root [C] is not the lowest note.