Others[edit]In hisTheory of Harmony(Schoenberg 1978, 407): "Besides myself my students Dr. Anton Webern andAlban Berghave written these harmonies (fourth chords), but also the Hungarian Bla Bartk or the VienneseFranz Schreker, who both go a similar way to Debussy, Dukas and perhaps alsoPuccini, are not far off.

British composerMichael Tippettalso employed quartal harmonies extensively in works from his middle period. Examples are hisPiano Concertoand the operaThe Midsummer Marriage. An almost constant quartal harmony is used byBertold Hummelin his Second Symphony of 1966. A similarly obvious example is the work ofMieczysaw Weinberg.Hermann Schroederalternated in his works using fragments ofGregorian Chantbetween quintal and quartal harmony. Also the Polish composerWitold Lutosawskidevised 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 ofOlivier Messiaen'sTurangalla-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 ofLeo Brouwer(10Etudesfor Guitar),Robert Delanoff(Zwiegesprche fr Orgel),Ivan Vshnegradsky,Tru Takemitsu(Cross Hatch) andHanns Eisler(Hollywood-Elegy). In the 1960s, the use oftone clustersjuxtaposing minor and major seconds pushed aside quartal harmony somewhat. The orchestral work ofGyrgy Ligeti,Atmosphresof 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 Gershwinmay be mentioned. In the first movement of hisConcerto in Faltered 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 aneclecticharmonic orbit, was in itsearly daysovertaken (until perhaps theSwingof the 1930s) by the vocabulary of 19th-century European music.[clarification needed]Important influences come thereby fromopera,operetta,military bandsas 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 bypianistsandarrangerslikeJelly 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 especiallyMcCoy 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 orsus chord

Play(helpinfo)Bebopbrought an aesthetic change to modern jazz: the chords which before had a relative identity (asmajor 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 belovedii-V-Icadence 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 normalvoice leadingbut within theextended 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 typicalhard bopbrass part, fromHorace Silver's "Seor Blues"

Thehard bopof 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 refinedpolyphonysuch as is found incool jazz.

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

On his watershed recordKind of Blue,Miles Daviswith pianistBill Evansused 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 aSo What chord,