Reaching Fourths and Beyond

As you continue to explore Jordan Rudess’ organ solo on “Tarkus,” you can see the emergence of a recurring intervallic device: the use of fourths. Fourths can be used as chordal and melodic tools, and Jordan does both in his solo. The use of fourths is not limited to the interval of a perfect fourth; it can also occur as an augmented fourth. The source of fourths is usually a scale, and that scale is often a major scale, or a mode of the major scale. It’s the position in the scale that dictates whether the fourth is perfect or augmented. As we discovered in the Beginner lesson, Jordan’s organ solo is in the A minor tonality. A good source of fourths in this case would be the A natural minor scale (A Aeolian mode), which is a C major scale starting on A. The A natural minor scale is also known as the relative minor to C major. They both share the same key signature, which is no sharps and no flats. Let’s see how this all relates to the use of fourths in Jordan’s solo.

Ex. 1. 1a shows fourths grouped in threes, based on the A natural minor scale (A Aeolian mode). These groupings are known as quartal chords, which means they’re built in fourths. Notice the incidence of perfect and augmented fourths, which is dictated by the prevailing key signature. By arpeggiating the quartal chords in triplets, and alternating ascending and descending groups (1b), you now have a melodic pattern to practice, slowly of course, with the use of a metronome. As you gain facility, bump up the tempo gradually.

Ex. 2. Quartal voicings are not always drawn exclusively from modes, but can also be chromatically based. Play these ascending chromatic quartal chords in 2a and listen to how tension is created by the chromatic ascension as you again shift from chordal to melodic application in 2b. As in 2a, practice slowly, with the metronome, and gradually increase the speed.

Ex. 3. 3a shows chromatic quartal chords with all notes going up; this is yet another riff to add to your practice regimen and playing vocabulary. Ex. 2 and Ex. 3a have all been in preparation of a pattern that Jordan plays in his “Tarkus” solo. He takes the three-note pattern, and doubles the bottom note up the octave, to create a sixteenth-note run. Jordan shows that with the addition of only one note, a whole new sound can be achieved. Practice this slowly, and keep that metronome going.

Ex. 4. Remember Jordan talking about practicing chords in all keys? His claim that this helps for improvisation is born out in his solo. The triad in 4a, with the added second, is the basis for one of Jordan’s head-turning licks. Practice it slowly and carefully, to get the feel of the notes under your fingers, until you can grab these shapes automatically. In 4b, here are the same triads and seconds, distributed between the right hand (stems going up) and left hand (stems going down). Make sure to keep your hands in motion, so that they don’t get in each other’s way. Now try it the way Jordan played it, accelerated to sixteenth-notes, and jumping octaves, as in 4c. Slow and steady practice will yield the desired results, as it did in Jordan’s case.

These audio and MIDI files correspond to the lessons beginning on page 40 of the March 2008 issue of Keyboard. All files performed by Mike Worth.

Mike Worth is a composer for video games and progressive rock keyboardist, based out of Philadelphia. He grew up playing Genesis and Rush, and still thinks that the "Legend of Zelda" theme is one of the great melodies of all time. www.mikeworthmusic.com