This Easy Quartal Voicing Improv Trick Will Make You Sound Like A Pro

Unlocking the secrets of quartal voicings can elevate your jazz improvisation to new heights. These harmonically sophisticated chords built on the intervals of fourths, add a modern, sophisticated sound to your playing.

In this post, we’re diving into a powerful quartal voicing improv trick that will instantly give your solos a fresh, professional edge. Whether you’re a seasoned performer or just starting to explore jazz piano, this technique will enhance your musical expression and creativity.

Let’s begin!

What Is A Quartal Voicing?

A quartal voicing is a type of chord built using intervals of fourths instead of the traditional thirds. This approach creates a more open, modern sound that is often associated with jazz and contemporary music. By stacking notes in fourths, musicians can achieve harmonies that add unique complexity and depth to their playing.

Below is an example of a 3 note quartal voicing.

An important thing to know is that quartal voicings is that they are ambiguous. Since there is no third, the voicing isn’t major or minor, but the notes in quartal voicings could be apart of several different types of chords.

Quartal Voicing Improvisation Trick

Now that we have the basics out of the way, let’s check out the trick.

Let’s use the same voicing from above. If we play the 1, 2 and 5 or each note in the voicing, we will get a sophisticated sounding line/pattern similar to something McCoy Tyner would play.

You could also play the 1-4-5 of each note in the voicing for a slightly different sound.

If you noticed that all the notes in these lines come from pentatonic scales, give yourself a pat on the back. You’re good at theory!

The interesting thing about this concept is that you can use these patterns over any chord that has a quartal voicing in it. Some chords my have avoid notes, but if the 1-2-5 pattern doesn’t fit, the 1-4-5 pattern will work better, and vice versa.

Application

You can apply this basic trick in your improvisation, or you could experiment and come up with more interesting lines.

To show the various ways of application, I took the “A” section of Wayne Shorter’s’ “Footprints” and created an exercise based on this concept.

In this example I:

• Mixed the 1-4-5 and 1-2-5 patterns together
• Kept using the concept while shifting between quartal voicings that are diatonic to the key
• Used chromaticism (bar 13)
• Broke up the rhythms

Conclusion

The example above only scratched the surface of what is possible with this trick. It is now up to you to practice and come up with your own ideas. A great way to get the hang of it is to make your exercises (etudes) to get used to applying this concept.

Some standards you could do this with are:

• Miles Davis- Milestones, So What
• Herbie Hancock- Dolphin Dance, Maiden Voyage
• John Coltrane- Impressions
• Freddie Hubbard- Little Sunflower
• Wayne Shorter- Infant Eyes, Yes Or No
• Richard Rogers- My Favorite Things
• Dave Brubeck- Take 5

Don’t be afraid to experiment. I am interested in seeing the type of ideas you will come up with.

Happy practicing!

If you would like to download a free pdf of the “Footprints” workout sheet, click the button below.