Soloing Over 5th Chords |
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Aug 8 2009, 01:46 AM
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You can play MANY things over power chords
since those are actually regular chords with one note missing, 3rd is missing. In other words, you can simply make power chords from regular chords and the other way around, power chords are no mystery, they have date of birth, parents etc.  So in order to get as much as possible from your power chords you need to find out theirs origin, origin will lead you to key/scale and you're good to go. Do you have any examples of power chords progression that cause you problems? -------------------- Youtube
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Aug 8 2009, 10:26 AM
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QUOTE (TheKeplerConjecture @ Aug 8 2009, 06:40 AM)  I just read Muris' response to your question, and with a little contemplation, I came to an possible epiphany. Just to reiterate, whether it's to help you or to confirm my take on it: Analyze the root notes of the power chords used. Seeing them in context should tell you if it's a major, minor scale, etc. Based on that, determine what those chords would be if they were full 7th chords within that scale. Based on that you can determine good goal notes for each chord - enhancing their value while soloing. You can even go deeper and, if the seventh degree isn't used in the backing at all, make your own decision about it's nature, making it either aeolean or harmonic minor, whichever you think suits best. Or another example: If it appears to be major with no 2nd degree used, try phrygian... right? Am I on to something, or am I just looking too deep into a basic statement? Thanks for giving me something to explore, one way or another! You ARE on to something cause power chords do give you more freedom to eventually pick up direction you wanna go, compared with full chords. 
-------------------- Youtube
MySpace Website Album "Let It Out" on iTunes and CD Baby Check out my video lessons and instructor board! The Pianist tune is progress,check it out! "ok.. it is great.. :P have you myspace? Can i to personalize this for you guy?" |
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Aug 8 2009, 11:35 AM
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Powerchords are universal chords, they can be percieved as many different chords, and because of this, key changes are not strictly defined, it's all pretty loose. I believe playing above them can also sound pretty loose, unless you are really familiar with diatonic theory both in theory and practice.
What I suggest is that you try to first learn the basic chord triads. This requires some music theory learning, and one scale table from my side. The main thing to remember is that any scale has several chords that are derived from it. I will explain this on C major scale example: C - D - E = F - G - A = B - C This C major scale is a diatonic scale. Diatonic scale is a seven note musical scale comprising five whole steps (-) and two half steps (=), in which the half steps are maximally separated. Thus between each of the two half steps lie either two or three whole steps, with the pattern repeating at the octave. Let's talk a bit about chords now. A chord is a set of three or more different notes from a specific key that sound simultaneously. Chords constructed of three notes are described as triads and consist of two intervals. Triads are constructed from stacks of thirds relative to some underlying scale. We will stick to triads for now. Here's the C major scale again: C - D - E = F - G - A = B - C Suppose we want to make chords from this scale. We can make chord from every note. Triads are made from root, third and fifth interval. But any of the 7 notes can be the root! This way we can make these chords: C major triad - C - E - G D minor triad - D - F - A E minor triad - E - G - B F major triad - F - A - C G major triad - G -B - D A minor triad - A - C - E B dim(m7b5) triad - B - D - F Now lets take away the third and make powerchords (dyads): C dyad - C - G D dyad - D - A E dyad - E - B F dyad - F - C G dyad - G - D A dyad - A - E B dim dyad - B - F As you can see, we don't have minor or major defined now. These voicings sound the same, they don't have the character. It's up to the player to create that characted by accenting third notes over certain chords, which will in return say about they key you are in. Every key has it's own unique set of chords, because every key has different notes, and different spaces between the notes. If your friends give you any of these chords in a song, then you know the key you should be using is C major key, and you translate that to patterns on the fretboard. Here's my key table that I made for a member a while ago: https://www.guitarmasterclass.net/guitar_fo...st&p=312891 I think you may find it useful. It contains all 12 keys available with all the notes within. You can find instructions for it in that post in the link. I hope all of this make sense for you. If not, let me know what needs to be clarified or when you can come down to GMC chat so we can discuss about it in real time. Ivan -------------------- - Ivan's Video Chat Lesson Notes HERE
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