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Suspended Fourth Chord and Quartal Harmony - The Study of Jazz Music

A chord quite common in much of today’s jazz is the so-called ”sus. 4”. Since the middle 1960s this chord occurs more and more frequently in many different tonal contexts. Sometimes it is used as a substitute for a dominant seventh chord: sometimes it elides into a dominant seventh chord or, on occasion it has a function all its own, outside the dominant – to – tonic harmonic pattern. The chord is most easily visualized as a dominant seventhchord minus the third, with the “sus. 4” taking its placea perfect fourth above the root of the chord:<br />
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<b> EXAMPLE 6</b></div>
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Example 7a illustrates the sus. 4 chordutilized as a dominant replacement moving to tonic major and tonic minor:<br />
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<b> </b><b><b>EXAMPLE</b> 7a </b></div>
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Example 7b illustrates the sus. 4 chord eliding into the “regular” dominant seventh chord, which is then followed by a tonic resolution:<b> </b></div>
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<b>EXAMPLE 7b </b></div>
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Example 7c illustrates the sus. 4 chord unrelated to dominant-tonic movements, but rather as an independent chord with a sequential life generated by root movements other than by syntax is similar to tunes such as “Maiden Voyage.” “Fancy Free” and “Cantaloupe Island".<br />
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<b>EXAMPLE 7c</b></div>
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<b>Quartal Harmony</b></div>
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A chord closely related to the sus. 4 structure is the quartal , a sonority constructed in perfect fourths. Although quartal harmony could embrace other kinds of fourths as building blocks (e.g. diminished and augmented fourths), it is the perfect fourth that is most often found as the interval upon which these chords are constructed. Quartal harmony as a musical element has been present for most of the twentieth century, but it is only in recent years that is has found its way into jazz. We propose a new system of chord symbols for these structures, since none have been of three picthes, each a perfect fourth apart, the letter (Q) would be placed next to the chord root. Hence:</div>
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<b>EXAMPLE 8a</b></div>
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When a quartal chord is extended past a three-note structure
a small arabic numeral can be utilized next to the (Q) to indicate precisely
the number of notes in the chord.</div>
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<b>EXAMPLE 8b</b></div>
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The following chart list chromatically and in sequence
thirty eight of the most commonly encountered jazz chords. The keys are
indicated down the left side of each page with the chord types listed across
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Jazz Chord

Jazz is seventh-chord idiom. The seventh chord serves as the basis of the jazz harmonic idiom. Chords larger than seventh are, of course, also common. Chord smaller than seventh chords are infrequently utilized. As basis of seventh chords we have the four types of triads: major, diminished, and augmented.<span lang="IN"> </span><br />

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<span lang="IN">In jazz nomenclature<span style="mso-spacerun: yes;">  </span>these four traids would be indicated by the
following symbols, <b> </b></span></div>
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<span lang="IN"><b>Example 1</b>: </span></div>
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<span lang="IN">C</span></div>
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<span lang="IN">Cm</span></div>
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<span lang="IN">C+</span></div>
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<span lang="IN">C</span><sup><span lang="IN" style="font-size: 12.0pt; line-height: 115%;">o</span></sup></div>
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<span lang="IN">The seventh chords are extensions of these basic triad type. Chords C and Cm upon diminished triads. In example 2, we see the five most common types of seventh chords. Chords (a) and (b) are constructed upon major triads, (c) upon a minor triad, (d) and (e) upon diminished triads. The common chord symbols are indicated below each chord.</span></div>
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<span lang="IN"><b> Example 2</b></span></div>
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<span lang="IN">Others  types of seventh chords are also possible, but are less common. Example 3 (a) shows a minor triad with a major seventh on top, 3 (b) illustrates a dominant seventh chord with a raised fifth, and 3 (c) shows a dominant seventh chord with a lowered fifth. Both 3 (b) and (c) occur in jazz as modifications of the basic dominant seventh chord.</span></div>
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<span lang="IN"><b>Example 3</b></span></div>
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<span lang="IN">Jazz also utilized so-called sixth chords. These chords are formed by the addition of an intervallic sixth above a basic triad type. Example 4 shows the two common sixth chords. Note that the sixth in both cases lies a major sixth above and the root of the chord. Since one of the chords is called major and the other minor, it is a common error to suppose that the sixth is altered to form the minor sixth chord.</span></div>
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<b>Example 4</b></div>
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<span lang="IN">Any seventh chord may be extended by the addition of ninths, clevenths, and thirteenths. For purpose of simpliecity the seventh chord types are listed below with the additions commonly found indicated alongside. Obviously, any note can be added to any chord. But in jazz, certain additions are common, while others are virtually never found. Note that regardless of the type of seventh chord the basic bibths, clevenths, and thirteenths found as additions stem from the major scale unless altered via a sharp or flat.</span></div>
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<span lang="IN"><b>Example 5</b></span></div>