Others[edit]

In his Theory of Harmony (Schoenberg 1978, 407): "Besides myself my students Dr. Anton
Webern and Alban Berg have written these harmonies (fourth chords), but also the Hungarian
Bla Bartk or the Viennese Franz Schreker, who both go a similar way to Debussy, Dukas and
perhaps also Puccini, are not far off.
British composer Michael Tippett also employed quartal harmonies extensively in works from
his middle period. Examples are his Piano Concerto and the opera The Midsummer Marriage.
An almost constant quartal harmony is used by Bertold Hummel in his Second Symphony of
1966. A similarly obvious example is the work of Mieczysaw Weinberg.Hermann
Schroeder alternated in his works using fragments of Gregorian Chant between quintal and
quartal harmony. Also the Polish composer Witold Lutosawski devised a use that allows many
harmonic combinations to be applied to a single part, having several combinations that may be
tried against it, like fourths with whole tones, tritones with semitones, or other possibilities. [citation
needed]

In the first movement of Olivier Messiaen's Turangalla-Symphonie, a six-note combination is

constructed in pieces from fourths and tritones, much like in the music of Schoenberg and
Scriabin. Much of Messiaen's work applies quartal harmony, moderated by his development of
what he called "Modes of limited transposition".[citation needed]
A preference for quartal harmony is present in the works of Leo Brouwer (10 Etudes for
Guitar), Robert Delanoff (Zwiegesprche fr Orgel), Ivan Vshnegradsky, Tru
Takemitsu(Cross Hatch) and Hanns Eisler (Hollywood-Elegy). In the 1960s, the use of tone
clusters juxtaposing minor and major seconds pushed aside quartal harmony somewhat. The
orchestral work of Gyrgy Ligeti, Atmosphres of 1961, makes extensive use of such sounds.
[citation needed]

The works of the Filipino composer Elisio Pajaro (19151984) are characterised by

quartal and quintal harmonies, as well as by dissonant counterpoint and polychords (Kasilag
2001).
As a transition to the history of jazz, George Gershwin may be mentioned. In the first
movement of his Concerto in F altered fourth chords descend chromatically in the right hand
with a chromatic scale leading upward in the left hand.

Jazz[edit]
The style of jazz, having an eclectic harmonic orbit, was in its early days overtaken (until
perhaps the Swing of the 1930s) by the vocabulary of 19th-century European music. [clarification
needed]

Important influences come thereby from opera, operetta, military bands as well as from the

piano music of Classical and Romantic composers, and even that of the Impressionists. Jazz
musicians had a clear interest in harmonic richness of colour, for which quartal harmony

provided possibilities, as used by pianists and arrangers like Jelly Roll Morton, Duke
Ellington, Art Tatum, Bill Evans (Hester 2000, 199) Milt Buckner (Hester 2000, 199) Chick
Corea (Herder 1987, 78; Scivales 2005, 203) Herbie Hancock (Herder 1987, 78; Scivales
2005, 203) and especially McCoy Tyner (Herder 1987, 78; Scivales 2005, 205). Nevertheless,
the older jazz usually handled fourths in the customary manner (as a suspension needing
resolution).[citation needed]

The iiVI cadence

Play (helpinfo); the fourth-suspension or sus chord

Play (helpinfo)

Bebop brought an aesthetic change to modern jazz: the chords which before had a relative
identity (as major and minor, dominant, etc.) gave way to block transpositions, with a fleeting,
smooth flowing tonality, having the colours of chords blurred and strongly ambiguous. A
prevalent example for this is the beloved ii-V-I cadence of modern jazz.[citation needed]
In the figure to the right, a traditional cadence is contrasted with a cadence where a substitution
has been made in one of the inner voices. The inner voice still exhibits normal voice
leading but within the extended harmony of jazz. The multiplicity of possibilities available can
be used as a framework for improvisation. In addition, compositions of this time often had a
frantic tempo, allowing more leeway in the harmony of fleeting chords (because they are not
sounding for very long). Quartal harmony was employed throughout the jazz of the 1940s. [citation
needed]

A typical hard bop brass part, from Horace Silver's "Seor Blues"

The hard bop of the 1950s made new applications of quartal harmony accessible to jazz. [citation
needed]

Quintetwriting in which two brass instruments (commonly trumpet and saxophone) may

proceed in fourths, while the piano (as a uniquely harmonic instrument) lays down chords, but
sparsely, only hinting at the intended harmony. This style of writing, in contrast with that of the
previous decade, preferred a moderate tempo. Thin-sounding unison bebop horn sections
occur frequently, but these are balanced by bouts of very refined polyphony such as is found
in cool jazz.

The "So What" chorduses three intervals of a fourth.

On his watershed record Kind of Blue, Miles Davis with pianist Bill Evans used a chord
consisting of three perfect fourth intervals and a major third on the composition "So What". This
particular voicing is sometimes referred to as a So What chord,