Figure 16.

7
Schuman: No. 2 from Three Score Set, mm. 14.

h = circa 40

# > # >
3
#

&2

? 32 #

> >

Quartal Chords

>
n n

>
# # # www ...

>
b b

n n # www> ...

# # # ... n n # #
#
p
# .. b b n n #
.

Upper triad: B

F#

F#

Lower triad: C

Eb

Eb

# # #
# # #
C#
F#

Quartal chords are common in music of the early twentieth century. Figure 16.8 contains
pure quartal chords almost exclusively throughout the composition, which makes it a rare
example of quartal chord treatment.

Figure 16.8
Ives: The Cage, no. 64 from 114 Songs.

j j j j j
j j j
& # # # # # j j j n n n
f A leop - ard went a - round his cage from one side
&
? # #
#

j
# #
j
#
#
J

n bn ...

n bn ...
n n ..

n n ..

Chords reduced to simple position:

? # #
#

# ##
#

All are 5 factor consonant quartal chords.

Frequently, quartal chords are not purethat is, other intervals are included in the
chord, thus creating a mixture of quartal and tertian harmony. The following excerpt (Figure 16.9) from Alban Bergs opera Wozzeck (1921), illustrates the intermixing of 3rds and
4ths. The parallel 4ths in contrary motion (treble against bass) create a counterpoint that
adds to the interest of the composition.

CHAPTER 16 The Early Twentieth Century

277

Figure 16.9
Berg: Wozzeck, op. 7, act I, scene 3: Maries Lullaby, mm. 372374.

& 68 b .
p
.
?6
8

j
# n
. .

j
n b
.
.

j

. .

.
b b

. # # .
J

.
J

. .
J

.
J

b ..
..

# #n ...
# .

n b ...
.

b.
n b n ...

*PQ

PQ

PQ

.
J
.
J

*Predominantly quartal.
Figure 16.10 also illustrates the mixing of quartal with tertian (triadic) harmony. Note
that the melody contains a motif made up of two intervals, the m2nd and the tritone. In its
last two appearances in this excerpt, the m2nd is maintained, but the tritone gives way rst
to a P5th and then to a M3rd.

Figure 16.10
Pisk: Nocturnal Interlude from New Music for the Piano.
Motive in
melody:

T + m2

3
#

& 4 #
? 3 .
4
?

(# )

*Q

m2 + T

m2 + T

# n

j
n b

# #n

(# )
b

n(#b ) #
# # #

T + m2

M3 + m2

# n n
n

#
#

b # n#

#
# n

m2 + P5

# # (bn ) #

# n
**T

b j
.

Authentic cadence
*Quartal/quintal chords.
**Tertian (triadic).
Notes in parentheses are not part of the chords.
Both quartal and tertian harmony often contain the same tones, each distinguished
only by the arrangement of the chord factors (Figure 16.11).
278

PART E

The Nineteenth and Twentieth Centuries