In the later 19th century, during the breakdown of tonality in classical music, all intervallic relationships were once again reassessed. During the common practice period (between about 16), this interval came to be heard either as a dissonance (when appearing as a suspension requiring resolution in the voice leading) or as a consonance (when the root of the chord appears in parts higher than the fifth of the chord). In the Middle Ages, simultaneous notes a fourth apart were heard as a consonance. For instance, the quartal chord, C–F–B, can be written as History
Like tertian chords, a given quartal or quintal chord can be written with different voicings, some of which obscure its quartal structure. Because of this relationship, any quartal chord can be rewritten as a quintal chord by changing the order of its pitches. Quintal harmony (the harmonic layering of fifths specifically) is a lesser-used term, and since the fifth is the inversion or complement of the fourth, it is usually considered indistinct from quartal harmony. Regarding chords built from perfect fourths alone, composer Vincent Persichetti writes that: Listeners familiar with music of the European common practice period perceive tonal music as that which uses major and minor chords and scales, wherein both the major third and minor third constitute the basic structural elements of the harmony. Use of the terms quartal and quintal arises from a contrast, compositional or perceptual, with traditional tertian harmonic constructions. For instance, a three-note quintal chord on C can be built by stacking perfect fifths, C–G–D. Quintal harmony is harmonic structure preferring the perfect fifth, the augmented fifth and the diminished fifth.
For instance, a three-note quartal chord on C can be built by stacking perfect fourths, C–F–B. In music, quartal harmony is the building of harmonic structures built from the intervals of the perfect fourth, the augmented fourth and the diminished fourth.
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