Power

chords
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s r nrrll.r.,qliqlypl-
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poucr.cirords _
thc most (.orrrnon
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To highlight
the cliffere
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;rg]rt
bLrr t.lror,l
setluence
(Ftc
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2s),
hrst using rionnal
ooen
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'ptrssing'
fifths taken f ro,
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ol rrsing
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lasl
pitssiug
c,lrords
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Rot,k r,o,,,r,
oiii,l';o'iiJlil::
fi:f, :|lli'
j,lick,sablrrllr specialisetl
in songs
brr.erl
t_rn rifls
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orte'
addinq
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porverfi
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octrtres qiuing
soliditl
and u.cirlht
to f t," ru,,n,l.
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D'r]nng
the
'80s,
t rna, U."fro,l-ri";0",,
"ra
,Me'tallica
used fifths in their
songs,
but often
r irrictl
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Lx rrsi nq auqnrer
rted r ir rt.reas,,tl
)
or dirnirrislrcd
rr".l,,""dt"ffltl,.
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j"li..j
iortl lers llmiliar
sorrrrd.
The rrert erarnpir,.
Whether
you,re
into grunge,
ind.ie,
meta,I
chords
a,re
wha,t
rirth
s,
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flff
15 B5ic5/D5
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I
Muting
A
lmost
aII power
4lchords
use less
than
six strings,
but if you're
playinE
roct{, you
don't
want
to be have
to avoid
all the open
ones.
Use any fingers
which
aren't
Gngering
the
cunent
chord
to
mute
unwanted
open
notes
by just
resting
the fingers
over
the strinEs _
enough
to stop them
sounding,
but not
enough
to actually
rret
them-
lrilr.frrt
Seatfl-styte
rhythm
demo (fig
4). This can atso Oe useO as a"
backing
track to improvise
a
rock solo over-
!"trfiltr, ' .
A ciord pattern,
dafetl first as
oPen chords,
then as power
rnords,
tfien as power
chords
wnn passing
tones (fig
l)
Ex-fit r-lifn
Pover
chord ritt (frg
Z)
!l-i7tr53r,
llehilica-style
attered
fi fth
dlords (Rg
0
&tikrc:
Bieharct
Baneft
Shom here are a
selection
of power
chords
that appear
i! this moDth,s
demos.
Note that
the ffrst two ean be
Doved to various
fret positiols
without
changitg
shape.
f've also
lncluded
two
poaitlotrs
of the A
pentatoric
mi[or
scale, which car be
used to improvise
a
solo over the
backing
track.
or puu.k,
poEe!
expla,ius
hor
t;u
um
/L
It
o^
open chor
iou
porver chr :
lns E
passing p(
Ls example shtu
.rerthg the chr
l?a#j@
A:
l!s.s is a tJ4rical
-h
@ fttave note 4 t
l"iDt!F-r5
A:
lrrc
a.
cn TRACK
2Z) is trprcrrl
o.
_
lrr,tlre
eirrly'gOs
lle *.l,ul,_
S_.,:,
srrrrrrd.r,ras
Lrased
on liftl,.
t.r;'r. -
_
Pear I
J.r,n
Soundqar.den
_,,,i i,;.,.
:,:::r:1
sor.rnd
tLirrr tlicir.rnrt.,i
t,.-
iilso tenlle(l
to strutn
rrsiriq
r1,,,, r, ,r,.
nrtlrer tlrln.iust
do\\xstroi'e,
f i,. _
l.t:1..?
rnacx
z4)illrrrtr.;rt|s
rlr:.
_
1s;ti
rt; l bat kinq tr;rtk lor soloirr_
-
naturirl
minor
sc.ale {see
lretl,,x, .- ii?
iFr+i
ffi
H#f
A5 (opel)
ffi
ll/lll
io6*t I
9l I ii)*
ll-ffi
.m
I,entatonic
ffi
D5/E5/F5/G5
tTTilr
ffi
c5 (opetl)
Technique
I
O_d:n, your
hand
stretch
to rt sr
I of the fret position
r
at
- rrers;;;;;;#'jJ;:;:Jt"t
*
progress
up the fingerboard
.?+-:d,t!;i:i."H."g,Jr=
you
change
fret position
-8,
.?:li,l;,_'ffi
I'Jff
f HiJ*o
o
--
ulwanted
open
strings
with the
prcking,hand.
See the separate
bor jr
liP:
ot how to mute unwanted
opr.:
strings
with
the fretting
hand.
-s netal riff lrs
:e up ud do
:iLE
J. SEpTa
E5 (open)
Am pentatoric
SEPTEMBER
r995
-..