Quartal Permutations over ii-V7-I Progressions
with Melodic Ideas and Comping Suggestions

Minor quality voicings:
 1 11 b7  (m11)
 9  5  1  (m9)
11 b7 b3  (m11)
 5  8 11  (m11)
 6  9  5  (m13)

dominant 7 quality voicings:
9 5 1 (9th)
3 6 9 (13th)
6 9 5 (13th)

Major quality voicings:
 9 5 1 (Maj9)
 3 6 9 (Maj6/9)
 6 9 5 (Maj6/9)
7 3 6 (Maj13no11)

ii-V7-I progressions:

The above twelve ii-V-I progressions notated
for guitar fingerings (scroll down)

The above twelve ii-V-I progressions notated
for guitar fingerings (scroll down)

The above twelve ii-V-I progressions notated
for guitar fingerings (scroll down)

The above twelve ii-V-I progressions notated
for guitar fingerings (scroll down)

1. When improvising, simple arpeggiation can sound terrific (especially when each chord only gets two beats)

2. One interesting soloing technique is to play the following quartal triplets rapidly in succession (ascending or descending) over Bbmaj7 (ionian), Cm7 (dorian), Ebmaj7 (lydian), F7 (mixolydian) or Gm7 (aeolian):

Bb F C

C G D

Eb Bb F

F C G

G D A

Bb F C

G D A

F C G

Eb Bb F

C G D

Bb F C

3. Another way to use quartals in a melodic sense is to utilize the "megascale" concept.
         (for those of you unfamiliar with this, please see the "Bopology 101" lesson)

   What if we had a scale that was made up of all perfect 4ths???

How about this one:

E A D G C

But HEY! If you rearrange those notes, it's the pentatonic scale!

A C D E G

And as you know, you can use the pentatonic scale (in one form or another) over almost everything!

Taking this concept of a megascale made of perfect fourths one step further results in this tone row:

B E A D G C F

When rearranged as above, it contains exactly the same notes as the C major scale and all its modes:

A B C D E F G

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