{"id":62467,"date":"2025-03-14T01:20:50","date_gmt":"2025-03-14T00:20:50","guid":{"rendered":"https:\/\/edwinm29.sg-host.com\/?p=62467"},"modified":"2025-03-14T08:37:20","modified_gmt":"2025-03-14T07:37:20","slug":"quartal-quintal-and-secundal-harmonies","status":"publish","type":"post","link":"https:\/\/www.skoove.com\/blog\/quartal-quintal-and-secundal-harmonies\/","title":{"rendered":"What are quartal, quintal and secundal harmonies?"},"content":{"rendered":"<div id=\"ez-toc-container\" class=\"ez-toc-v2_0_86 counter-hierarchy ez-toc-counter ez-toc-custom ez-toc-container-direction\">\n<div class=\"ez-toc-title-container\">\n<p class=\"ez-toc-title\" style=\"cursor:inherit\">Table of Contents<\/p>\n<span class=\"ez-toc-title-toggle\"><a href=\"#\" class=\"ez-toc-pull-right ez-toc-btn ez-toc-btn-xs ez-toc-btn-default ez-toc-toggle\" aria-label=\"Toggle Table of Content\"><span class=\"ez-toc-js-icon-con\"><span class=\"\"><span class=\"eztoc-hide\" style=\"display:none;\">Toggle<\/span><span class=\"ez-toc-icon-toggle-span\"><svg style=\"fill: #103133;color:#103133\" xmlns=\"http:\/\/www.w3.org\/2000\/svg\" class=\"list-377408\" width=\"20px\" height=\"20px\" viewBox=\"0 0 24 24\" fill=\"none\"><path d=\"M6 6H4v2h2V6zm14 0H8v2h12V6zM4 11h2v2H4v-2zm16 0H8v2h12v-2zM4 16h2v2H4v-2zm16 0H8v2h12v-2z\" fill=\"currentColor\"><\/path><\/svg><svg style=\"fill: #103133;color:#103133\" class=\"arrow-unsorted-368013\" xmlns=\"http:\/\/www.w3.org\/2000\/svg\" width=\"10px\" height=\"10px\" viewBox=\"0 0 24 24\" version=\"1.2\" baseProfile=\"tiny\"><path d=\"M18.2 9.3l-6.2-6.3-6.2 6.3c-.2.2-.3.4-.3.7s.1.5.3.7c.2.2.4.3.7.3h11c.3 0 .5-.1.7-.3.2-.2.3-.5.3-.7s-.1-.5-.3-.7zM5.8 14.7l6.2 6.3 6.2-6.3c.2-.2.3-.5.3-.7s-.1-.5-.3-.7c-.2-.2-.4-.3-.7-.3h-11c-.3 0-.5.1-.7.3-.2.2-.3.5-.3.7s.1.5.3.7z\"\/><\/svg><\/span><\/span><\/span><\/a><\/span><\/div>\n<nav><ul class='ez-toc-list ez-toc-list-level-1 ' ><li class='ez-toc-page-1 ez-toc-heading-level-2'><a class=\"ez-toc-link ez-toc-heading-1\" href=\"https:\/\/www.skoove.com\/blog\/quartal-quintal-and-secundal-harmonies\/#Why_explore_other_forms_of_harmony\" >Why explore other forms of harmony?<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-2'><a class=\"ez-toc-link ez-toc-heading-2\" href=\"https:\/\/www.skoove.com\/blog\/quartal-quintal-and-secundal-harmonies\/#Understanding_traditional_harmony\" >Understanding traditional harmony<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-2'><a class=\"ez-toc-link ez-toc-heading-3\" href=\"https:\/\/www.skoove.com\/blog\/quartal-quintal-and-secundal-harmonies\/#What_is_quartal_harmony\" >What is quartal harmony?<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-2'><a class=\"ez-toc-link ez-toc-heading-4\" href=\"https:\/\/www.skoove.com\/blog\/quartal-quintal-and-secundal-harmonies\/#What_is_quintal_harmony\" >What is quintal harmony?<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-2'><a class=\"ez-toc-link ez-toc-heading-5\" href=\"https:\/\/www.skoove.com\/blog\/quartal-quintal-and-secundal-harmonies\/#What_is_secundal_harmony\" >What is secundal harmony?<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-2'><a class=\"ez-toc-link ez-toc-heading-6\" href=\"https:\/\/www.skoove.com\/blog\/quartal-quintal-and-secundal-harmonies\/#Comparing_quartal_quintal_and_secundal_harmonies\" >Comparing quartal, quintal, and secundal harmonies<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-2'><a class=\"ez-toc-link ez-toc-heading-7\" href=\"https:\/\/www.skoove.com\/blog\/quartal-quintal-and-secundal-harmonies\/#Who_uses_quartal_quintal_and_secundal_harmony\" >Who uses quartal quintal and secundal harmony?<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-2'><a class=\"ez-toc-link ez-toc-heading-8\" href=\"https:\/\/www.skoove.com\/blog\/quartal-quintal-and-secundal-harmonies\/#Practical_applications_for_pianists\" >Practical applications for pianists<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-2'><a class=\"ez-toc-link ez-toc-heading-9\" href=\"https:\/\/www.skoove.com\/blog\/quartal-quintal-and-secundal-harmonies\/#Make_your_own_progressions\" >Make your own progressions\u00a0<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-2'><a class=\"ez-toc-link ez-toc-heading-10\" href=\"https:\/\/www.skoove.com\/blog\/quartal-quintal-and-secundal-harmonies\/#Tips_for_success_with_quartal_quintal_and_secundal_harmonies\" >Tips for success with quartal, quintal, and secundal harmonies<\/a><\/li><\/ul><\/nav><\/div>\n<p><span style=\"font-weight: 400;\">Music theory often feels like a treasure hunt, uncovering new gems that can transform your playing and composing. Today\u2019s focus is quartal, quintal and secundal harmonies. Let\u2019s explore\u00a0 these three fascinating ways to build chords that break away from western traditional norms.\u00a0<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Whether you\u2019re a seasoned pianist or just starting out, understanding these harmonies can open up fresh sonic possibilities. Let\u2019s dive into what these harmonies are, how they\u2019re built, and why they matter.<\/span><\/p>\n<div class=\"componentContainer\"><div class=\"row\"><div class=\"column\"><div class=\"h2Notable\">Start your musical journey<\/div><ul><li><span><strong>Fall in love with the music -<\/strong> Learn your favorite songs, at a level suitable for you.<\/span><\/li><li><span><strong>Enjoy interactive piano lessons -<\/strong> Explore courses covering music theory, technique chords & more.<\/span><\/li><li><span><strong>Get real-time feedback -<\/strong> Skoove's feedback tells you what went well and what needs practice.<\/span><\/li><\/ul><\/div><div class=\"column\"><img fetchpriority=\"high\" decoding=\"async\" src=\"\/wp-content\/uploads\/2024\/09\/optimized\/iPhone15-1A-3-800.webp\" alt=\"\" width=\"1024\" height=\"846\" class=\"alignnone size-large\" \/><\/div><\/div><small><\/small><a class=\"skooveButton skooveButtonWithin\" target=\"_blank\" title=\"Book a trial lesson\" href=\"https:\/\/www.skoove.com\/auth\/register_promotion?coupon=7d-blog-npd&utm_source=blog&utm_medium=btf&utm_campaign=7d-blog-npd&t=Start%20a%207%20day%20free%20trial&st=No%20credit%20card%20required!\" rel=\"noopener\">Book a trial lesson<\/a><small>No credit card details required<\/small><\/div>\n<h2><span class=\"ez-toc-section\" id=\"Why_explore_other_forms_of_harmony\"><\/span><strong>Why explore other forms of harmony?<\/strong><span class=\"ez-toc-section-end\"><\/span><\/h2>\n<p><span style=\"font-weight: 400;\">These non-traditional harmonies can:<\/span><\/p>\n<ul>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">Add fresh colors to your compositions.<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">Inspire new ways to approach improvisation.<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">Help you break free from traditional patterns.<\/span><\/li>\n<\/ul>\n<p><span style=\"font-weight: 400;\">Learning about quartal, quintal, and secundal harmonies isn\u2019t just an academic exercise, it\u2019s a gateway to creativity. <\/span><\/p>\n<h2><span class=\"ez-toc-section\" id=\"Understanding_traditional_harmony\"><\/span><strong>Understanding traditional harmony<\/strong><span class=\"ez-toc-section-end\"><\/span><\/h2>\n<p><span style=\"font-weight: 400;\">Before diving into quartal, quintal and secundal harmonies, let\u2019s quickly recap the fundamentals of traditional <\/span><a href=\"\/blog\/harmony-in-music\/\"><span style=\"font-weight: 400;\">harmony<\/span><\/a><span style=\"font-weight: 400;\">. Most Western music is built on tertian harmony, which constructs chords by stacking intervals of thirds.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Think of a <\/span><a href=\"\/blog\/c-major-chord-on-piano\/\"><span style=\"font-weight: 400;\">C major chord<\/span><\/a><span style=\"font-weight: 400;\">: it\u2019s built from the notes C, E, and G. Each note is a third above the previous one.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Here\u2019s how examples of tertian chords stack up:<\/span><\/p>\n\n<table id=\"tablepress-121\" class=\"tablepress tablepress-id-121\">\n<thead>\n<tr class=\"row-1\">\n\t<th class=\"column-1\">Chord Type<\/th><th class=\"column-2\">Intervals<\/th><th class=\"column-3\">Example (C Root)<\/th>\n<\/tr>\n<\/thead>\n<tbody class=\"row-striping row-hover\">\n<tr class=\"row-2\">\n\t<td class=\"column-1\">Major triad<\/td><td class=\"column-2\">Root + major 3rd + perfect 5th<\/td><td class=\"column-3\">C, E, G<\/td>\n<\/tr>\n<tr class=\"row-3\">\n\t<td class=\"column-1\">Minor triad<\/td><td class=\"column-2\">Root + minor 3rd + perfect 5th<\/td><td class=\"column-3\">C, E\u266d, G<\/td>\n<\/tr>\n<tr class=\"row-4\">\n\t<td class=\"column-1\">Dominant seventh<\/td><td class=\"column-2\">Root + major 3rd + minor 7th<\/td><td class=\"column-3\">C, E, G, B\u266d<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<!-- #tablepress-121 from cache -->\n<p><span style=\"font-weight: 400;\">Tertian harmony\u2019s predictable structure is beautiful, but quartal, quintal and secundal subvert standard practice for something entirely different.<\/span><\/p>\n<h2><span class=\"ez-toc-section\" id=\"What_is_quartal_harmony\"><\/span><strong>What is quartal harmony?<\/strong><span class=\"ez-toc-section-end\"><\/span><\/h2>\n<p><span style=\"font-weight: 400;\">Quartal harmony is a way of <a href=\"\/blog\/piano-chords\/\">building piano chords<\/a> by stacking <\/span><a href=\"\/blog\/understanding-piano-intervals\/\"><span style=\"font-weight: 400;\">intervals<\/span><\/a><span style=\"font-weight: 400;\"> of fourths rather than the traditional thirds found in Western classical music. The fourth spans five semitones, for instance, from C to F. This method produces an open and interesting sound.<\/span><\/p>\n<h4><strong>The origins of quartal harmony<\/strong><\/h4>\n<p><span style=\"font-weight: 400;\">Quartal harmony originated from a reevaluation of tonal norms in the late 19th and early 20th centuries. While fourths were consonant in medieval music, they came to be considered dissonant or context-dependent during the common practice period. In the late 20th century, as tonality was reconsidered and broken down, composers like Debussy, Scriabin and Berg used fourth-based structures to explore new harmonic possibilities, influencing modern classical. Jazz music also incorporated this with the likes of Mcoy Tyner and Bill Evans adopting quartal approaches to harmony.\u00a0<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Interestingly, the concept of building harmonies with fourths isn\u2019t exclusive to Western music. Some traditional African and Asian music systems inherently use fourths, offering a unique parallel to western quartal harmony.<\/span><\/p>\n<h3><strong>Building quartal harmony chords<\/strong><\/h3>\n<p>Creating quartal chords is straightforward, but the results can feel endlessly inventive.<\/p>\n<h4><strong>True quartal harmony: stacked perfect fourths<\/strong><\/h4>\n<p><span style=\"font-weight: 400;\">True quartal harmony is created by stacking perfect fourths above a root note, producing a unique, open sound distinct from traditional tertian (third-based) chords. Here\u2019s how to build one:<\/span><\/p>\n<p><b>Start with a root note.<\/b><\/p>\n<p><span style=\"font-weight: 400;\">Example: Begin with C.<\/span><\/p>\n<ul>\n<li><b>Add a perfect fourth above the root: <\/b><span style=\"font-weight: 400;\">This gives you F (five semitones above C).<\/span><\/li>\n<li><b>Add another perfect fourth above: <\/b><span style=\"font-weight: 400;\">Next comes B\u266d (five semitones above F).<\/span><\/li>\n<\/ul>\n<p><span style=\"font-weight: 400;\">This results in the pure quartal chord <\/span><b>C\u2013F\u2013B\u266d<\/b><span style=\"font-weight: 400;\">.<\/span><\/p>\n<p><strong>Variations to try<\/strong><\/p>\n<ul>\n<li><b>Extended quartal chords:<\/b><span style=\"font-weight: 400;\"> Add more fourths, such as E\u266d or A\u266d, to create a layered, complex harmony.<\/span><\/li>\n<li><b>Inversions:<\/b><span style=\"font-weight: 400;\"> Rearrange the order of the notes, such as F\u2013B\u266d\u2013C, for different tonal effects.<\/span><\/li>\n<li><b>Open voicings:<\/b><span style=\"font-weight: 400;\"> Space the notes across octaves for a broader, richer sound.<\/span><\/li>\n<\/ul>\n<h3><strong>Diatonic quartal harmony<\/strong><\/h3>\n<p><span style=\"font-weight: 400;\">Diatonic quartal harmony adapts quartal structures to fit within a specific scale or mode. Each interval remains a fourth within the context of the scale. Let\u2019s look at how to build diatonic quartal chords<\/span><\/p>\n<ol>\n<li><b>Choose a scale &#8211; <\/b><span style=\"font-weight: 400;\">Example: The Dorian scale (D\u2013E\u2013F\u2013G\u2013A\u2013B\u2013C).<\/span><\/li>\n<li><b>Stack fourths diatonically.<\/b><\/li>\n<\/ol>\n<ul>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">Start with D.<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">Add G (a fourth above D within the scale).<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">Add C (a fourth above G within the scale).<\/span><\/li>\n<\/ul>\n<p><span style=\"font-weight: 400;\">This creates a diatonic quartal chord <\/span><b>D\u2013G\u2013C<\/b><span style=\"font-weight: 400;\"> in Dorian mode.\u00a0<\/span><\/p>\n<p><span style=\"font-weight: 400;\">As with true quartal harmony you can always\u00a0 add extensions on to three note chords.\u00a0<\/span><\/p>\n<p><b>Examples in modal jazz<\/b><\/p>\n<p><span style=\"font-weight: 400;\">Diatonic quartal harmony is central to modal jazz, especially in the work of McCoy Tyner and John Coltrane. Try these voicings in Dorian mode:<\/span><\/p>\n<ul>\n<li><b>D\u2013G\u2013C<\/b><span style=\"font-weight: 400;\"> over D minor<\/span><\/li>\n<li><b>E\u2013A\u2013D<\/b><span style=\"font-weight: 400;\"> over E minor<\/span><\/li>\n<li><b>F\u2013B\u2013E<\/b><span style=\"font-weight: 400;\"> over F major<\/span><\/li>\n<\/ul>\n<p><span style=\"font-weight: 400;\">Diatonic quartal chords lend a modern, fluid texture to progressions, making them ideal for improvisation and modal exploration.<\/span><\/p>\n<h2><span class=\"ez-toc-section\" id=\"What_is_quintal_harmony\"><\/span><strong>What is quintal harmony?<\/strong><span class=\"ez-toc-section-end\"><\/span><\/h2>\n<p><span style=\"font-weight: 400;\">Quintal harmony is created through building chords from intervals of fifths. A fifth spans seven semitones for example, C to G. The result is a spacious, ringing quality that evokes a sense of grandeur.<\/span><\/p>\n<h3><strong>Why quintal harmony feels different<\/strong><\/h3>\n<p><span style=\"font-weight: 400;\">Quintal harmony is often described as \u201copen\u201d because of the wide intervals between the notes. Unlike tertian chords, which resolve neatly, quintal chords float, creating a sense of timelessness. This makes them perfect for music that aims to convey vastness, such as film scores or minimalist compositions.<\/span><\/p>\n<h3><strong>Building quintal harmony chords<\/strong><\/h3>\n<p>Quintal harmony chords are built by stacking fifth intervals, creating a unique, open, and resonant sound.<\/p>\n<h4><strong>True quintal harmony: stacked perfect fifths<\/strong><\/h4>\n<ul>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><b>Start with a root note &#8211; <\/b><span style=\"font-weight: 400;\">Example: Begin with C.<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><b>Add a perfect fifth above the root. <\/b><span style=\"font-weight: 400;\">This gives you G (seven semitones above C).<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><b>Add another perfect fifth above. <\/b><span style=\"font-weight: 400;\">Next comes D (seven semitones above G).<\/span><\/li>\n<\/ul>\n<h3><strong>This results in the pure quintal chord C\u2013G\u2013D.<\/strong><\/h3>\n<p>Variations to try<\/p>\n<ul>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><b>Extended quintal chords:<\/b><span style=\"font-weight: 400;\"> Add more fifths, such as A or E, to expand the harmony further.<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><b>Inversions:<\/b><span style=\"font-weight: 400;\"> Rearrange the notes, like G\u2013D\u2013C, for a new texture.<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><b>Open voicings:<\/b><span style=\"font-weight: 400;\"> Spread the notes across multiple octaves to amplify the harmonic depth.<\/span><\/li>\n<\/ul>\n<h3><strong>Diatonic quintal harmony<\/strong><\/h3>\n<p><span style=\"font-weight: 400;\">Diatonic quintal harmony adapts the quintal structure to fit within a chosen scale or mode, maintaining the intervals within the context of that scale.<\/span><\/p>\n<h4><strong>Building diatonic quintal chords<\/strong><\/h4>\n<p><span style=\"font-weight: 400;\">1.<\/span> <b>Choose a scale &#8211; <\/b><span style=\"font-weight: 400;\">Example: The Mixolydian scale (G\u2013A\u2013B\u2013C\u2013D\u2013E\u2013F).<\/span><\/p>\n<p><span style=\"font-weight: 400;\">2.<\/span> <b>Stack fifths diatonically.<\/b><\/p>\n<ul>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">Start with G.<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">Add D (a fifth above G within the scale).<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">Add A (a fifth above D within the scale).<\/span><\/li>\n<\/ul>\n<p><span style=\"font-weight: 400;\">This creates a diatonic quintal chord <\/span><b>G\u2013D\u2013A<\/b><span style=\"font-weight: 400;\"> in Mixolydian mode.<\/span><\/p>\n<h4><strong>Examples in film and contemporary music<\/strong><\/h4>\n<p><span style=\"font-weight: 400;\">Quintal harmony is often used to create a vast, open feel in modern compositions, particularly in film scores. Try these voicings in Mixolydian mode:<\/span><\/p>\n<ul>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><b>G\u2013D\u2013A<\/b><span style=\"font-weight: 400;\"> over G major<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><b>A\u2013E\u2013B<\/b><span style=\"font-weight: 400;\"> over A minor<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><b>C\u2013G\u2013D<\/b><span style=\"font-weight: 400;\"> over C major<\/span><\/li>\n<\/ul>\n<p><span style=\"font-weight: 400;\">Diatonic quintal chords provide a grounded yet ethereal quality, making them ideal for both tension and resolution in harmonic progressions.<\/span><\/p>\n<p>&nbsp;<\/p>\n<div class=\"ast-oembed-container\"><iframe title=\"How To Use Quartal and Quintal Harmony and Melody In Your Compostions\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/DlML3adH9yQ?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/div>\n<p>&nbsp;<\/p>\n<h2><span class=\"ez-toc-section\" id=\"What_is_secundal_harmony\"><\/span><strong>What is secundal harmony?<\/strong><span class=\"ez-toc-section-end\"><\/span><\/h2>\n<p><span style=\"font-weight: 400;\">Secundal harmony stacks intervals of seconds, either diatonic (like C to D) or chromatic (like C to C\u266f). The resulting sound is dense, dissonant and cluster-like, making it a favorite in avant-garde and experimental music.<\/span><\/p>\n<h3><strong>The unique sound of seconds<\/strong><\/h3>\n<p><span style=\"font-weight: 400;\">Unlike fourths and fifths, which sound open, seconds are compact and clashing. This gives secundal harmony its tension-filled, \u201ccrunchy\u201d quality. It\u2019s often used to create suspense or moments of unease.<\/span><\/p>\n<h3><strong>Building secundal harmony chords<\/strong><\/h3>\n<ul>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><b>Start with a root note &#8211; <\/b><span style=\"font-weight: 400;\">Example: Begin with C.<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><b>Add a second above the root: <\/b><span style=\"font-weight: 400;\">This gives you D (two semitones above C).<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><b>Add another second above: <\/b><span style=\"font-weight: 400;\">Next comes E (two semitones above D).<\/span><\/li>\n<\/ul>\n<p><span style=\"font-weight: 400;\">This forms the pure secundal chord <\/span><b>C\u2013D\u2013E<\/b><span style=\"font-weight: 400;\">.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Variations to Explore<\/span><\/p>\n<ul>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><b>Extended clusters:<\/b><span style=\"font-weight: 400;\"> Add more seconds, such as F or G, for thicker textures.<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><b>Chromatic clusters:<\/b><span style=\"font-weight: 400;\"> Use adjacent notes (e.g., C\u2013C\u266f\u2013D) to create sharper dissonance.<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><b>Inversions:<\/b><span style=\"font-weight: 400;\"> Rearrange notes, such as E\u2013C\u2013D, for unique tonal effects.<\/span><\/li>\n<\/ul>\n<h3><strong>Diatonic secundal harmony<\/strong><\/h3>\n<p><span style=\"font-weight: 400;\">Diatonic secundal harmony adjusts the stacked seconds to fit within a specific scale, resulting in clusters that feel consonant within the chosen key.<\/span><\/p>\n<h4><strong>Building diatonic secundal chords<\/strong><\/h4>\n<ol>\n<li><b>Choose a scale &#8211; <\/b><span style=\"font-weight: 400;\">Example: The Dorian scale (D\u2013E\u2013F\u2013G\u2013A\u2013B\u2013C).<\/span><\/li>\n<li><b>Stack seconds diatonically.<\/b><\/li>\n<\/ol>\n<ul>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">Start with D.<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">Add E (a second above D within the scale).<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">Add F (a second above E within the scale).<\/span><\/li>\n<\/ul>\n<p><span style=\"font-weight: 400;\">This creates the diatonic secundal chord <\/span><b>D\u2013E\u2013F<\/b><span style=\"font-weight: 400;\"> in Dorian mode.<\/span><\/p>\n<p><b>Examples in contemporary music<\/b><\/p>\n<p><span style=\"font-weight: 400;\">Secundal harmony adds a modern, avant-garde touch to music and can evoke emotional tension or atmospheric depth. Try these clusters in Dorian mode:<\/span><\/p>\n<ul>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><b>D\u2013E\u2013F<\/b><span style=\"font-weight: 400;\"> over D minor<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><b>F\u2013G\u2013A<\/b><span style=\"font-weight: 400;\"> over F major<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><b>A\u2013B\u2013C<\/b><span style=\"font-weight: 400;\"> over A minor<\/span><\/li>\n<\/ul>\n<p><span style=\"font-weight: 400;\">Diatonic secundal clusters work well in both static textures and dynamic progressions, offering a balance of dissonance and consonance that\u2019s perfect for expressive, boundary-pushing compositions.<\/span><\/p>\n<h2><span class=\"ez-toc-section\" id=\"Comparing_quartal_quintal_and_secundal_harmonies\"><\/span><strong>Comparing quartal, quintal, and secundal harmonies<\/strong><span class=\"ez-toc-section-end\"><\/span><\/h2>\n<p><span style=\"font-weight: 400;\">Here\u2019s a quick comparison of these three harmony types:<\/span><\/p>\n\n<table id=\"tablepress-122\" class=\"tablepress tablepress-id-122\">\n<thead>\n<tr class=\"row-1\">\n\t<th class=\"column-1\">Harmony Type<\/th><th class=\"column-2\">Interval (non diatonic)<\/th><th class=\"column-3\">Sound<\/th><th class=\"column-4\">Usage<\/th>\n<\/tr>\n<\/thead>\n<tbody class=\"row-striping row-hover\">\n<tr class=\"row-2\">\n\t<td class=\"column-1\">Quartal<\/td><td class=\"column-2\">Fourths (5 semitones)<\/td><td class=\"column-3\">Open, airy, modern<\/td><td class=\"column-4\">Jazz, modal music<\/td>\n<\/tr>\n<tr class=\"row-3\">\n\t<td class=\"column-1\">Quintal<\/td><td class=\"column-2\">Fifths (7 semitones)<\/td><td class=\"column-3\">Spacious, cinematic<\/td><td class=\"column-4\">Film scores, modern classical<\/td>\n<\/tr>\n<tr class=\"row-4\">\n\t<td class=\"column-1\">Secundal<\/td><td class=\"column-2\">Seconds (1\u20132 semitones)<\/td><td class=\"column-3\">Dense, dissonant<\/td><td class=\"column-4\">Avant-garde, tension in pop<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<!-- #tablepress-122 from cache -->\n<h2><span class=\"ez-toc-section\" id=\"Who_uses_quartal_quintal_and_secundal_harmony\"><\/span><strong>Who uses quartal quintal and secundal harmony?<\/strong><span class=\"ez-toc-section-end\"><\/span><\/h2>\n<p><span style=\"font-weight: 400;\">Discovering all these new harmonic devices can be a bit daunting. Exploring the sounds they make and feelings they evoke will help you understand and incorporate them into your playing and writing.\u00a0<\/span><\/p>\n<h3><strong>Quartal harmony<\/strong><\/h3>\n<ul>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><b>McCoy Tyner<\/b><span style=\"font-weight: 400;\"> \u2013 Known for his use of quartal harmony in modal jazz, particularly in his work with John Coltrane.<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><b>Claude Debussy<\/b><span style=\"font-weight: 400;\"> \u2013 Used quartal harmony in his impressionistic works, such as in \u201cVoiles\u201d and \u201cDes pas sur la neige.\u201d<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><b>Arnold Schoenberg<\/b><span style=\"font-weight: 400;\"> \u2013 Known for his early 20th-century exploration of quartal structures as part of his broader harmonic experimentation.<\/span><\/li>\n<\/ul>\n<h3><strong>Quintal harmony<\/strong><\/h3>\n<ul>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><b>Miles Davis<\/b><span style=\"font-weight: 400;\"> \u2013 In his modal works, Davis embraced quintal harmonies, especially in albums like <\/span><i><span style=\"font-weight: 400;\">Sketches of Spain.<\/span><\/i><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><b>Wayne Shorter<\/b><span style=\"font-weight: 400;\"> \u2013 Incorporates quintal harmonic ideas in both his own compositions and his work with the Miles Davis Quintet.<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><b>Aaron Copland<\/b><span style=\"font-weight: 400;\"> \u2013 Used quintal harmony in many of his orchestral works, often contributing to a sense of vastness or openness.<\/span><\/li>\n<\/ul>\n<h3><strong>Secundal harmony<\/strong><\/h3>\n<ul>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><b>Jacob Collier<\/b><span style=\"font-weight: 400;\"> \u2013 A modern master of secundal harmony, frequently using stacked seconds in his arrangements and improvisations.<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><b>Alban Berg<\/b><span style=\"font-weight: 400;\"> \u2013 Used clusters and secundal harmonies as part of his atonal style, particularly in his opera <\/span><i><span style=\"font-weight: 400;\">Lulu<\/span><\/i><span style=\"font-weight: 400;\"> and string quartets.<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><b>Gy\u00f6rgy Ligeti<\/b><span style=\"font-weight: 400;\"> \u2013 Known for his avant-garde approach to harmony, Ligeti often employed clusters of seconds, creating a dense and disorienting texture.<\/span><\/li>\n<\/ul>\n<h2><span class=\"ez-toc-section\" id=\"Practical_applications_for_pianists\"><\/span><strong>Practical applications for pianists<\/strong><span class=\"ez-toc-section-end\"><\/span><\/h2>\n<p><span style=\"font-weight: 400;\">Now that you know how these harmonies work, how can you use them in your playing? Let\u2019s explore some practical tips.<\/span><\/p>\n<h3><strong>Quartal harmony exercises<\/strong><\/h3>\n<ul>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">Play a series of quartal chords in the key of C major: C\u2013F\u2013B\u266d, D\u2013G\u2013C, E\u2013A\u2013D.<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">Try improvising over a modal progression (e.g. Dorian mode) using quartal voicings.<\/span><\/li>\n<\/ul>\n<h3><strong>Quintal harmony exercises<\/strong><\/h3>\n<ul>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">Create a progression using quintal chords: C\u2013G\u2013D, G\u2013D\u2013A, A\u2013E\u2013B.<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">Experiment with wide voicings to create cinematic sounds.<\/span><\/li>\n<\/ul>\n<h3><strong>Secundal harmony exercises<\/strong><\/h3>\n<ul>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">Build chromatic clusters like C\u2013C\u266f\u2013D and move them up the keyboard.<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">Use secundal chords to create tension in a piece, resolving to a traditional chord for contrast.<\/span><\/li>\n<\/ul>\n<p><span style=\"font-weight: 400;\">It\u2019s best to integrate these new forms of harmony by playing them with the right guidance. Joe Hisaishi, the composer for many Studio Ghibli soundtracks make use of quartal voicings. You can find a tutorial on how to play his beautiful composition, <\/span><i><span style=\"font-weight: 400;\">Innocent<\/span><\/i><span style=\"font-weight: 400;\"> , from Castle in the Sky over on the Skoove app.<\/span><\/p>\n<h2><span class=\"ez-toc-section\" id=\"Make_your_own_progressions\"><\/span><strong>Make your own progressions\u00a0<\/strong><span class=\"ez-toc-section-end\"><\/span><\/h2>\n<p><span style=\"font-weight: 400;\">The charm of these harmonic devices is that quartal, quintal and secundal harmonies break away from traditional tertian rules. These approaches focus on the movement of intervals fourths, fifths and seconds allowing for more open, expansive, or dissonant sounds.\u00a0<\/span><\/p>\n<p><a href=\"\/blog\/chord-progressions-on-piano\/\"><span style=\"font-weight: 400;\">Chord progressions<\/span><\/a><span style=\"font-weight: 400;\"> using quartal harmony have a modern, spacious feel, while quintal progressions evoke a cinematic or airy quality. Secundal progressions, on the other hand, create tension and density, perfect for avant-garde or experimental textures. The beauty of these harmonies lies in their flexibility to experiment with stacking intervals, rearranging notes, and exploring sounds to discover unique progressions that reflect your own musical voice. Have fun and experiment!<\/span><\/p>\n<h2><span class=\"ez-toc-section\" id=\"Tips_for_success_with_quartal_quintal_and_secundal_harmonies\"><\/span><strong>Tips for success with quartal, quintal, and secundal harmonies<\/strong><span class=\"ez-toc-section-end\"><\/span><\/h2>\n<p><span style=\"font-weight: 400;\">Mastering quartal, quintal, and secundal harmonies takes time, patience and a structured approach. These harmonies might feel unfamiliar at first, but with focused practice and the right tools, you can incorporate them into your music.\u00a0<\/span><\/p>\n<p><b>Start simple and build gradually<\/b><span style=\"font-weight: 400;\">: Focus on one harmony type, like quartal chords, before branching out. Play these over a single root note to familiarize yourself with their sound. Gradually apply them to scales and progressions, transitioning between harmony types to explore their interactions.<\/span><\/p>\n<p><b>Experiment with modes and scales<\/b><span style=\"font-weight: 400;\">:<\/span><\/p>\n<ul>\n<li style=\"list-style-type: none;\">\n<ul>\n<li style=\"font-weight: 400;\" aria-level=\"2\"><b>Quartal &amp; Quintal Harmonies<\/b><span style=\"font-weight: 400;\">: Pair with modal scales (e.g., Dorian, Mixolydian, Lydian) for unique voicings. Try quartal chords (D\u2013G\u2013C) over Dorian or quintal chords (G\u2013D\u2013A) over Mixolydian.<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"2\"><b>Secundal Harmonies<\/b><span style=\"font-weight: 400;\">: Use diatonic clusters (C\u2013D\u2013E) for smoother textures or chromatic clusters (C\u2013C\u266f\u2013D) for added tension.<\/span><\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<p><b>Incorporate into practice<\/b><span style=\"font-weight: 400;\">: Dedicate exercises to each type:<\/span><\/p>\n<ul>\n<li style=\"list-style-type: none;\">\n<ul>\n<li style=\"font-weight: 400;\" aria-level=\"2\"><span style=\"font-weight: 400;\">Play quartal chords in different keys.<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"2\"><span style=\"font-weight: 400;\">Explore quintal chords with open voicings for cinematic effects.<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"2\"><span style=\"font-weight: 400;\">Practice ascending and descending secundal clusters.<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"2\"><span style=\"font-weight: 400;\">Combine techniques in improvisation, like quartal chords in the left hand with modal melodies in the right.<\/span><\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<p><b>Learn from the masters<\/b><span style=\"font-weight: 400;\">: Check out all the examples shown above and learn about these harmonic devices from the masters.<\/span><\/p>\n<h2><strong>Conclusion<\/strong><\/h2>\n<p><span style=\"font-weight: 400;\">Exploring quartal, quintal, and secundal harmonies can transform your music, offering fresh sounds and endless creative possibilities. These harmonies break away from traditional structures, making them ideal for everything from jazz improvisation to modern classical compositions and film scores. Start experimenting today and unlock new musical dimensions!<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Skoove\u2019s interactive lessons and real-time feedback help you practice quartal, quintal and secundal chords while exploring modal scales, unique progressions and improvisation. With visual and audio guidance, Skoove makes it easy to understand these harmonies in a broader musical context, supporting players of all levels. Happy practicing!<\/span><\/p>\n<div class=\"ast-oembed-container\"><iframe title=\"Skoove\" src=\"https:\/\/player.vimeo.com\/video\/479012867?dnt=1&amp;app_id=122963\" width=\"500\" height=\"231\" frameborder=\"0\" allow=\"autoplay; fullscreen; picture-in-picture; clipboard-write; encrypted-media\"><\/iframe><\/div>\n<p style=\"text-align: center;\"><span class='maxbutton-1-container mb-container'><a class=\"maxbutton-1 maxbutton maxbutton-christmas\" target=\"_blank\" title=\"Start free trial\" rel=\"noopener\" href=\"https:\/\/www.skoove.com\/en\/auth\/register_promotion?coupon=7d-blog-npd\"><span class='mb-text'>Start free trial<\/span><\/a><\/span><\/p>\n<div class=\"c-message_kit__blocks c-message_kit__blocks--rich_text\">\n<div class=\"c-message__message_blocks c-message__message_blocks--rich_text\">\n<div class=\"p-block_kit_renderer\" data-qa=\"block-kit-renderer\">\n<div class=\"p-block_kit_renderer__block_wrapper p-block_kit_renderer__block_wrapper--first\">\n<div class=\"p-rich_text_block\" dir=\"auto\">\n<div class=\"p-rich_text_section\" style=\"text-align: center;\"><\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<hr \/>\n<p style=\"text-align: center;\"><strong>Author of this blog post:<\/strong><br \/>\nSusana P\u00e9rez Posada<\/p>\n<p style=\"text-align: center;\"><strong><img decoding=\"async\" class=\" wp-image-6965 aligncenter\" src=\"\/wp-content\/uploads\/2024\/01\/Susana-Pe\u0301rez-Posada-1.png\" alt=\"Susana P\u00e9rez Posada\" width=\"164\" height=\"168\" \/><\/strong><\/p>\n<p style=\"text-align: center;\">With over seven years of piano education and a deep passion for music therapy, Susana brings a unique blend of expertise to Skoove. A graduate in Music Therapy from SRH Hochschule Heidelberg and an experienced classical pianist from Universidad EAFIT, she infuses her teaching with a holistic approach that transcends traditional piano lessons. Susana&#8217;s writings for Skoove combine her rich musical knowledge with engaging storytelling, enriching the learning experience for pianists of all levels. Away from the piano, she loves exploring new places and immersing herself in a good book, believing these diverse experiences enhance her creative teaching style.<\/p>\n<div class=\"editorSection\">Edited and fact-checked by Matthew Dickman, composer, arranger, educator and multi-instrumentalist whose works have been performed by orchestras around the world.<br \/>\nPublished by Lydia Ogn from the Skoove team<\/div>\n<div id=\"gtx-trans\" style=\"position: absolute; left: 414px; top: 7551.61px;\">\n<div class=\"gtx-trans-icon\"><\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"<p>Music theory often feels like a treasure hunt, uncovering new gems that can transform your playing and composing. Today\u2019s focus is quartal, quintal and secundal harmonies. Let\u2019s explore\u00a0 these three fascinating ways to build chords that break away from western traditional norms.\u00a0 Whether you\u2019re a seasoned pianist or just starting out, understanding these harmonies can &hellip;<\/p>\n<p class=\"read-more\"> <a class=\"\" href=\"\/blog\/quartal-quintal-and-secundal-harmonies\/\"> <span class=\"screen-reader-text\">What are quartal, quintal and secundal harmonies?<\/span> Read More &raquo;<\/a><\/p>\n","protected":false},"author":92,"featured_media":62470,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"_seopress_titles_title":"What are quartal, quintal and secundal harmonies?","_seopress_titles_desc":"Discover the unique sounds of quartal, quintal, and secundal harmony. Learn how these techniques can transform your piano compositions and playing style.","_seopress_robots_index":"","_seopress_robots_follow":"","_seopress_robots_imageindex":"","_seopress_robots_snippet":"","_seopress_robots_primary_cat":"none","_seopress_robots_breadcrumbs":"","_seopress_robots_freeze_modified_date":"","_seopress_robots_custom_modified_date":"","_seopress_robots_canonical":"","_seopress_social_fb_title":"","_seopress_social_fb_desc":"","_seopress_social_fb_img":"","_seopress_social_fb_img_attachment_id":0,"_seopress_social_fb_img_width":0,"_seopress_social_fb_img_height":0,"_seopress_social_twitter_title":"","_seopress_social_twitter_desc":"","_seopress_social_twitter_img":"","_seopress_social_twitter_img_attachment_id":0,"_seopress_social_twitter_img_width":0,"_seopress_social_twitter_img_height":0,"_seopress_redirections_value":"","_seopress_redirections_enabled":"","_seopress_redirections_enabled_regex":"","_seopress_redirections_logged_status":"both","_seopress_redirections_param":"","_seopress_redirections_type":301,"_seopress_analysis_target_kw":"","footnotes":""},"categories":[243],"tags":[],"class_list":["post-62467","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-music-theory"],"acf":[],"_links":{"self":[{"href":"https:\/\/www.skoove.com\/blog\/wp-json\/wp\/v2\/posts\/62467","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.skoove.com\/blog\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.skoove.com\/blog\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.skoove.com\/blog\/wp-json\/wp\/v2\/users\/92"}],"replies":[{"embeddable":true,"href":"https:\/\/www.skoove.com\/blog\/wp-json\/wp\/v2\/comments?post=62467"}],"version-history":[{"count":0,"href":"https:\/\/www.skoove.com\/blog\/wp-json\/wp\/v2\/posts\/62467\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.skoove.com\/blog\/wp-json\/wp\/v2\/media\/62470"}],"wp:attachment":[{"href":"https:\/\/www.skoove.com\/blog\/wp-json\/wp\/v2\/media?parent=62467"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.skoove.com\/blog\/wp-json\/wp\/v2\/categories?post=62467"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.skoove.com\/blog\/wp-json\/wp\/v2\/tags?post=62467"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}