#31
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unless you look at it as the root being on the B string in which standard tuning is 4ths with a doubled E and octave displaced root ; or if you're like me and you tune the instrument in 4ths. If a song is understood to be based on (and notated in) quartal harmony in it's entirety you wouldn't even need to specify the Q, it's just E4. |
#32
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You still get the sound of a major 3rd in there, though. And as I think you'll agree, quartal chords resist identification of the root acoustically, since the acoustic root of each P4 is the upper note, so in a stack of P4s the root migrates to the top of the chord: an unnatural position for a root, which is what makes quartal chords so usefull ambiguous With the B displaced up an octave, it forms a P5 with the E below, giving E a stronger claim to root status. The G then joins in to make a minor 3rd, giving the sound of an Em chord, against which the D is 7th and the A 4th (11th). But I agree the effect of the voicing (with the A low in the chord) is essentially quartal. Ah-ha! Right. Good stuff!
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"There is a crack in everything. That's how the light gets in." - Leonard Cohen. |
#33
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Right. I love that about them. They are useful as pivot points like diminished and augmented chords or the whole tone scale, but compared to them they are more suitable as stopping points or "home". |
#34
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I guess that would be C/b with a little variation.. i've seen Bryan adams using notes similar to this..
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#35
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- deleted - someone's already explained better than me.
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