5 

Fig 5

Major 6th or 7th chords can also be represented by quartals built from the 3rd, 6th and
9th as these voicings do not include the 7th, although a quartal built from the 7th is a
strong maj 7th voicing. An interesting Lydian chord can also be constructed from the
#4. In other words, quartal chords a fourth apart in this sequence: #4, 7, 3, 6, 9.

Fig 6

To make things a little clearer, the table below may be of use. This summarises the
main voicings for the various chord types. As the quartals are listed a fourth apart,
one only needs to remember the first quartal root in each section, to be able to work
out the others. e.g. Minor chords – build from 6th.

Chord Quartal built from: Scale tones highlighted

Minor 7 6th 6, 9, 5
9th 9, 5, R
5th 5, R, 11
Root R, 11, 7
11th 11, 7, 3
Dominant 7 3rd 3, 13, 9
6th 13, 9, 5
9th 9, 5, R
Altered Dominant 7th 7, 9, 13
9th 9, 5, 9
5th 5, 9, 11
Dominant 7 sus4 5th 5, R, 4
Root R, 4, 7
Major 7 4th 4, 7, 3
7th 7, 3, 6
3rd 3, 6, 9
6th 6, 9, 5
9th 9, 5, R
Minor 7 b5 Root R, 11, 7
11th 11, 7, 3
7th 7, 3, 13

Note that voicings built from the b3 or b6 could be used for a min7b5 chord, but as
the b9 is highlighted, they are best avoided due to the b9 being somewhat of an
avoid note.