minor 11th chords (an octave and fourth equals an 11th). Jazz guitarists cited as using modern quartal harmony include Jim Hall (especially Sonny Rollins's The Bridge), George Benson ("Sky Dive"), Pat Martino, Jack Wilkins ("Windows"), Joe Diorio, Howard Roberts, Kenny Burrell, Wes Montgomery, Henry Johnson, Russell Malone, Jimmy Bruno, Howard Alden, Bill Frisell, Paul Bollenback, Mark Whitfield, and Rodney Jones. Quartal harmony was also explored as a possibility under new experimental scale models as they were "discovered" by jazz. Musicians began to work extensively with the so-called church modes of old European music, and they became firmly situated in their compositional process. Jazz was well-suited to incorporate the medieval use of fourths to thicken lines into its improvisation. The pianists Herbie Hancock, and Chick Corea are two musicians well known for their modal experimentation. Around this time, a style known as free jazz also came into being, in which quartal harmony had extensive use, owing to the wandering nature of its harmony. In jazz, the way chords were built from a scale came to be called voicing, and specifically quartal harmony was referred to as fourth voicing. Thus when the m11 and the dominant 7th sus (9sus above) chords in quartal voicings are used together they tend to "blend into one overall sound" sometimes referred to as modal voicings, and both may be applied where the m11 chord is called for during extended periods such as the entire chorus. Rock music Quartal and quintal harmony have been used by Robert Fripp, guitarist of King Crimson. Fripp dislikes minor thirds and especially major thirds in equal temperament tuning, which is used by non-experimental guitars. Of course, just intonation's perfect octaves, perfect fifths, and perfect fourths are well approximated in equal temperament tuning, and perfect fifths and octaves are highly consonant intervals. Fripp builds chords using perfect fifths, fourths, and octaves in his new standard tuning (NST), a regular tuning having perfect fifths between its successive open strings. The 1971 album Tarkus by Emerson, Lake & Palmer depends on quartal harmony throughout, including an recurrent elaboration on the classical Alberti bass pattern, in this case consisting of three broken quartal three-note chords, the first two of which are also a perfect fourth apart, and the third a semitone higher than the first. He also uses programmatic quintal harmony in several places for extended rapid obbligato passages where human fingering would be impracticable,