Power chord

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In guitar music, especially electric guitars, a power chord Play Ã, (also fifth chord ) is the everyday name for chords consisting of root and fifth. Power cables are commonly played on reinforced guitars, especially on electric guitars with distortion. Power chords are a key element of many rock styles and especially in heavy metal, and punk rock.

Video Power chord

Analysis

When two or more records are rotated through a distortion process that non-linearly converts the audio signal, additional partial is generated on the number and harmonic frequency difference of the note (intermodulation distortion). When a typical chord containing that interval (eg, major or minor chord) is played through distortion, the number of different frequencies generated, and the complex ratio between them, can make the resulting sound cluttered and unclear. This effect is emphasized because most guitars are tuned on the same temperament, with the result that a small third is narrower, and three thirds bigger, than just in intonation.

However, in the power chord, the ratio between the frequency of the root and the fifth is very close to 3: 2. When played through distortion, intermodulation leads to closely related partial production in the harmonic frequency of the two original records, produce a more coherent sound. Intermodulation makes the sound spectrum widespread in both directions, and with sufficient distortion, the new fundamental frequency component appears an octave lower than the chord root record that is played without distortion, giving richer, more bassy and more subjective 'strong' sounds from the signal undistorted. Even when played without distortion, the simple ratio between harmonics in chord tones can give a loud and powerful sound, due to the resulting tone effect. Power chords also have the advantage of being relatively easy to play (see "Fingering" below), allowing quick chord changes and easy incorporation into melodies and riffs.

Maps Power chord

Terminology

Theorists are divided into whether a power chord can be considered as a chord in the traditional sense, with some requiring a 'chord' to contain at least three degrees of scale. When the same interval is found in traditional and classical music, it is usually not called a "chord", and can be considered a number two (separated by interval). However, the term is accepted as a term of pop and rock music, strongly associated with overdrive electric guitar styles of hard rock, heavy metal, punk rock, and similar genres. The use of the term "power chord", to some extent, spills over into other instrumental vocabularies, such as keyboards and synthesizer players.

Power chords are most often denoted 5 or (no 3) . For example, "C5" or "C (no 3)" refers to playing root (C) and fifth (G). This can be reversed, so that G is played under C (making it the fourth time interval). They can also be played with an octave doubling from the root or fifth note, which makes the sound subjectively higher pitched with less power at lower frequencies but retains the power chord character.

Another notation is ind , designating the chord as 'indeterminate'. This refers to the fact that power chords are not major or minor, because there is no third presence. It gives chords a property such as a chameleon; if played where the major chord is expected, it can sound like a major chord, but when played where a minor chord might be expected, it sounds small.

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History

Power cables can be traced back to commercial recordings in the 1950s. Robert Palmer pointed to electric blues guitarist Willie Johnson and Pat Hare, both of whom played for Sun Records in the early 1950s, as the real originators of power chords, citing as evidence Johnson used in Howlin 'Wolf's' How Many More Years' (recorded 1951) and Hare played in "Cotton Crop Blues" James Cotton (recorded 1954). Scotty Moore opened Elvis Presley's 1957 hit Jailhouse Rock with power chord. Link Wray is often touted as the first rock and roll musician to use a power chord, with "Rumble" (recorded in 1958).

The hit song later built around power chords is "You Really Got Me" by Kinks, released in 1964. The riff of this song shows a quick power-chord change. The Who's guitarist, Pete Townshend, plays power chords with theater windmills, for example in "My Generation". In the album King Crimson Red , Robert Fripp thrashed with power chords. Power chords are important in various forms of punk rock music. Many punk guitarists only use power chords in their songs, especially Doyle Wolfgang von Frankenstein and Johnny Ramone.

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Technique

Power chords are often done in one octave, as this results in the closest matching tone. Octaf multiplication is sometimes done in a power chord. Power chords are often paired in the middle register.

The ones shown above are four examples of the F5 chord. The names of the letters above the chords only show the different sounds used. The names of these letters should not be misinterpreted for chord names commonly used in popular music (eg, Major C, B minor, etc.) Common sounds are the fifth perfect 1-5 (A), where octaves can be added, 1- 5-1 (B). A perfect fourth 4-1 (C) value is also a power chord, as it implies a lower "lost" pitch 1. One or both pitches can be duplicated an octave above or below (D is 5-1-5-1), leading to another general variation, 5-1-5 (not shown).

Chord Spider

The spider chord was a guitar technique popularized during the 1980s thrash metal scene. Considered to be popularized and named by Dave Mustaine of Megadeth, it is used to reduce string noise when playing riffs (mostly colored) that require chords across multiple strings. Chords or techniques are used in the songs "Wake Up Dead", "Holy Wars... The Punishment Due" and "Ride the Lightning".

  Â Â Â D5 Bb5  e | ------- |  B | ------- |  G | ------- |  D | -7 ----- |  A | -5--8-- |  E | ---- 6-- |  Â Â Â 3 & lt;  Â Â Â 1 4 & lt; - Spider chord fingering  Â Â Â Â Â Â 2 & lt;  

Seperti yang terlihat pada tab di atas, kedua chord power dapat dimainkan secara berurutan tanpa bergeser, membuatnya lebih mudah dan lebih cepat, dan dengan demikian menghindari derau string. Jari-jari normal adalah ${\ displaystyle _ {1} ^ {3}}  ÂÂ$ untuk kedua akord, membutuhkan perubahan simultan dan perubahan string. Perhatikan bahwa kedua chord power adalah sepertiga utama terpisah: jika chord pertama adalah tonik yang kedua adalah submediant minor. Jari-jari akor laba-laba juga memungkinkan akses ke akord ketujuh utama tanpa yang ketiga:

      AM7  e | ------ |  B | ------ |  G | ------ |  D | --6 --- |  A | --7 --- |  E | --5 --- |      3      4      2  

The spider strap requires the player to use all four restless fingers, as the name suggests. This technique then allows one to run to the neck playing one of two chords.

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Fingering

Perhaps the most common application is 1-5-1 ', that is, the root record, a fifth note above the root, and an octave record above the root. When the fourth string is separated, especially the four lower strings in the standard tuning, the lowest tone is played with multiple frets on some strings and the two higher notes are two higher frets on the next two strings. By using standard tuning, the note on the first or second string should be played one fret higher than this. (A bare fifth without an octave doubling is the same, except that the highest of the three strings, in parentheses below, is not played.A bare fifth with a bass note on the second string having the same fingering as the fifth or sixth rope.)

  G5   A5   D5   E5   G5   A5   D5   A5   E || ---------------------------------------------- (10) - - (5) ---- |  B || -------------------------------- (8) ---- (10) ---- 10 --- - 5 ----- |  G || ------------------ (7) ---- (9) ----- 7 ------ 9 ------ 7 - ---- 2 ----- |  D || ---- (5) ---- (7) ----- 7 ------ 9 ------ 5 ------ 7 ------ --- ---------- |  A || ----- 5 ------ 7 ------ 5 ------ 7 -------------------- --- ---------- |  E || ----- 3 ------ 5 ---------------------------------- --- ---------- |  

A fifth barre inverted, the fourth barre, can be played with one finger, as in the example below, from the riff at Smoke on the Water by Deep Purple:

  G5/D   Bb5/F   C5/G  /b>  Db5/Ab   C5/G   E || ------------------------ | ---------------------- |  B || ------------------------ | ---------------------- |  G || * ------ 3 --- 5 ------------ | ------- 3 --- 6 --- 5 ------ |  D || * - 5 --- 3 --- 5 ------------ | --- 5 --- 3 --- 6 --- 5 ------ |  A || --- 5 -------------------- | --- 5 ------------------ |  E || ------------------------ | ---------------------- |  

 | ----------------------- | --------------------- | |  | ----------------------- | --------------------- ||  | ------ 3 --- 5 --- 3 --- 0 ---- | -------------------- * ||  | --- 5--3 --- 5 --- 3 --- 0 ---- | -------------------- * ||  | --- 5 ------------------- | --------------------- ||  | ----------------------- | --------------------- ||  

Other implementations used are 5-1'-5 ', that is, the fourth record under root, root notes, and one-fifth notes above the root. (This is sometimes called the "fourth chord", but usually the second note is taken as root, although not the lowest.) When the fourth string is separated, the two lower tones are played with a slight fret on some two strings and the highest notes are two more frets high on the next string. Of course, using standard tuning, note on the first or second string should be played one fret higher.

  D5   E5   G5   A5   D5   A5   D5   G5   E || ----------------------------------------------- 5 - ---- 10 ---- |  B || --------------------------------- 10 ----- 5 ------ 3 --- --- 8 ----- |  G || ------------------- ------ 9 ------ 7 ------ 2 ----- (2) - - (7) ---- |  D || ----- 7 ------ 9 ------ 5 ------ 7 ----- (7) ---- (2) ----- --- ---------- |  A || ----- 5 ------ 7 ----- (5) ---- (7) ------------------- --- ---------- |  E || ---- (5) ---- (7) --------------------------------- --- ---------- |  

With D drop tuning - or any other tuning that falls - about power chords with bass on the sixth string can be played with one finger, and the D power chord can be played on three open strings.

To maintain a dominant and recessive record alternately, they almost never consist of more than 3 strings.

  D5   E5   E || ----------------  B || ----------------  G || ----------------  D || --0 ------- 2 -----  A || --0 ------- 2 -----  D || --0 ------- 2 -----  

Sometimes the "open" power chord with more than three tones is used in drop D.

 E || -------------------------- 5 ---  B || - 3 ------- 5 ------- 7 ------- 3 ---  G || - 2 ------- 4 ------- 6 ------- 2 ---  D || --0 ------- 2 ------- 4 ------- 0 ---  A || --0 ------- 2 ------- 4 ------- 0 ---  D || --0 ------- 2 ------- 4 ------- 0 ---  

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See also

• Overtone
• Intermodulation
• Electronic setter

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Note

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References

• Denyer, Ralph (1992). "Playing guitar, pp. 65-160, and dictionary chords, pp. 225-249". Guitar Handbook . Special contributors Isaac Guillory and Alastair M. Crawford; Preface by Robert Fripp (Ed completely revised and updated). London and Sydney: Pan Books. ISBNÃ, 0-330-32750-X.

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Further reading

• Crawshaw, Edith A. H. (1939). "What's Wrong with Fifth Consecutive?". The Musical Times , Vol. 80, No. 1154. (Apr., 1939), p. 256-257. (subscription required)

External links

• Guitar Lessons - Power chord forms and exercises

Source of the article : Wikipedia