Freiling's axiom of symmetry: Difference between revisions

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{{distinguish|Power cord}}
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{{Infobox chord
| chord_name=power chord
| first_interval=[[root (chord)|root]]
| second_interval=[[perfect fifth]]
| tuning=[[just intonation|2:3:4]]
}}
[[Image:Power chord on E.svg|thumb|300px|E5 power chord in eighth notes {{Audio|Power chord on E.mid|play}}]]
In guitar [[music]], a '''power chord''' {{audio|Power chord on E.ogg|Play}} (also [[Fifth (chord)|'''fifth chord''']]) is a [[chord (music)|chord]] that consists of the [[root (chord)|root note]] and the [[fifth (chord)|fifth]] [[Interval (music)|interval]]. Power chords are commonly played on [[Guitar amplifier|amplified]] guitars, especially on  [[electric guitar]] with [[Distortion (music)|distortion]]. Power chords are a key element of many styles of [[rock music]].<ref>[http://www.melbay.com/guitarglossary.asp "Glossary of Guitar Terms"], ''Mel Bay Publications, Inc.'' "A chord consisting of the first (root), fifth and eighth degree (octave) of the scale. Power chords are typically used in playing rock music."</ref>
 
==Analysis==
When two or more notes are played through a [[Distortion (music)|distortion]] process which [[Nonlinearity|non-linearly]] transforms the audio signal, additional [[Harmonic series (music)#Partial|partials]] are generated at the sums and differences of the [[Audio frequency|frequencies]] of the [[harmonics]] of those notes ([[intermodulation distortion]]).<ref>Doug Coulter (2000). [http://books.google.com/books?id=QvM0jbfgTGkC&pg=PA293 Digital Audio Processing], p.293. ISBN 0-87930-566-5. "Any non-linearity produces harmonics as well as sum and difference frequencies between the original components."</ref>
 
When a typical [[Chord (music)|chord]] (for example, a [[Major chord|major]] or [[Minor chord|minor]] chord) consisting of three or more different degrees of the scale is played through distortion, the number of different frequencies generated, and the complex ratios between them, can cause the resulting sound to be [[Roughness (psychophysics)|messy and indistinct]] (furthered by [[equal temperament]] and [[inharmonicity]]).<ref>[http://www.bbc.co.uk/dna/h2g2/A33659319 "Distortion – The Physics of Heavy Metal"], ''BBC''.</ref>
 
However, in a ''power chord'', the ratio between the frequencies of the root and fifth is very close to the [[just intonation|just]]  [[Interval (music)|interval]] 3:2. When played through distortion, the intermodulation leads to the production of partials closely related in frequency to the harmonics of the original two notes, producing a more coherent sound. The intermodulation causes the [[Frequency spectrum|spectrum]] of the sound to be expanded in both directions, and with enough distortion, a new [[Fundamental frequency|fundamental]] frequency component appears at an octave lower than the root note of the chord played without distortion, giving a richer, more [[Bass (music)|bassy]] and more subjectively 'powerful' sound than the undistorted signal.<ref>Robert Walser (1993). ''[http://books.google.co.uk/books?id=YKPDF0I5p3kC&pg=PA43 Running with the Devil]'', p.43. ISBN 0-8195-6260-2.</ref>
 
Even when played without distortion, the simple ratios between the [[harmonic]]s in the notes of a power chord can give a stark and powerful sound, due to the [[resultant tone]] effect
 
Power chords also have the added advantage of being relatively easy to play (see "[[Power chord#Fingering|Fingering]]" below), allowing fast chord changes and easy incorporation into [[melody|melodies]] and [[riff]]s.
 
==Terminology==
[[Image:C indeterminate chord.png|thumb|In a triadic context chords with omitted thirds may be considered "indeterminate" triads.<ref name="Benjamin">Benjamin, et al. (2008). ''Techniques and Materials of Music'', p.191. ISBN 0-495-50054-2.</ref> {{audio|C indeterminate chord.mid|Play}}]]
 
Theorists are divided on whether a power chord can be considered a ''chord'' in the traditional sense, with some requiring a 'chord' to contain a minimum of three degrees of the scale. When the same interval is found in [[Traditional music|traditional]] and [[Classical music|classical]] music, it would not usually be called a "chord", and may be considered to be a [[Dyad (music)|dyad]] or simply an [[Interval (music)|interval]]. However, the term is accepted as a pop and rock music term, most strongly associated with the overdriven electric guitar styles of [[hard rock]], [[Heavy metal music|heavy metal]], [[punk rock]], and similar genres. The use of the term "power chord" has, to some extent, spilled over into the vocabulary of other instrumentalists, such as [[Keyboard instrument|keyboard]] and [[synthesizer]] players.
 
Power chords are most commonly notated ''5'' or ''(no 3)''. For example, "C5" or "C(no 3)" refer to playing the root (C) and fifth (G). These can be [[Inversion (music)|inverted]], so that the G is played below the C (making an interval of a fourth). They can also be played with octave doublings of the root or fifth note, which will make a sound that is subjectively higher pitched with less power in the low frequencies, but still retains the character of a power chord.
 
Another notation is '''ind''', designating the chord as 'indeterminate'.<ref name="Benjamin"/> This refers to the fact that a power chord is neither major nor minor, as there is no third present. This gives the power chord a [[chameleon]]-like property; if played where a major chord might be expected, it can sound like a major chord, but when played where a minor chord might be expected, it will sound minor.
 
==History==
 
Power chords can be traced back to commercial recordings in the 1950s. [[Robert Palmer (writer)|Robert Palmer]] pointed to [[electric blues|electric]] [[blues guitar playing|blues guitarists]] [[Willie Johnson (guitarist)|Willie Johnson]] and [[Pat Hare]], both of whom played for [[Sun Records]] in the early 1950s, as the true originators of the power chord, citing as evidence Johnson's playing on [[Howlin' Wolf]]'s  (recorded 1951) and Hare's playing on [[James Cotton]]'s (recorded 1954).<ref>[[Robert Palmer (writer)|Robert Palmer]], "Church of the Sonic Guitar", pp. 13-38 in Anthony DeCurtis, ''Present Tense'', [[Duke University Press]], 1992, pp. 24-27. ISBN 0-8223-1265-4.</ref> [[Link Wray]] is often cited as the first mainstream musician to have introduced power chords.<ref>{{cite book|title=The Mojo Collection|url=http://books.google.com/books?id=AVQbF9lTBwgC&pg=PA242|year=2007|publisher=Canongate|isbn=978-1-84767-643-6|page=242}}</ref><ref name="BogdanovWoodstra2002">{{cite book|last1=Bogdanov|first1=Vladimir|last2=Woodstra|first2=Chris|last3=Erlewine|first3=Stephen Thomas|title=All music guide to rock: the definitive guide to rock, pop, and soul|url=http://books.google.com/books?id=1-pH4i3jXvAC&pg=PA1243|accessdate=8 March 2012|year=2002|publisher=Hal Leonard|isbn=978-0-87930-653-3|page=1243}}</ref><ref>{{cite news|url=http://articles.latimes.com/2005/nov/22/local/me-wray22|title=The Mojo Collection|last=McLellan|first=Dennis|date=22 November 2005|work=[[Los Angeles Times]]|accessdate=8 March 2012}}</ref><ref>{{cite news|url=http://www.npr.org/templates/story/story.php?storyId=5021946|title=Link Wray: Father of the Power Chord|date=21 November 2005|work=[[NPR]]|accessdate=8 March 2012}}</ref>
[[File:Pete Townshend Windmill-(jha).jpg|thumb|right|200px|The Who's Peter Townshend often used a theatrical "windmill" strum to play power chords.]]
 
A later [[Hit single|hit song]] built around power chords was "[[You Really Got Me]]" by [[the Kinks]], released in [[1964 in music|1964]].<ref>[[Robert Walser (musicologist)|Walser, Robert]] (1993). ''Running with the Devil: Power, Gender, and Madness in Heavy Metal Music'', p.9. Wesleyan University Press. ISBN 0-8195-6260-2.</ref> This song's [[riff]]s exhibit fast power-chord changes:
[[The&nbsp;Who]]'s guitarist, [[Pete&nbsp;Townshend]], performed power chords with a theatrical windmill-strum,<ref name="DenyerPower" >{{harvtxt|Denyer|1992|loc="The advanced guitarist; Power chords and fret tapping: Power chords", p. 156}}</ref><ref>{{harvtxt|Denyer|1992|loc="The Guitar Innovators: Pete Townshend", pp. 22-23}}</ref> for example in "[[My Generation]]".<ref>http://www.dailymotion.com/video/x37j9_the-who-my-generation_music
</ref>
Early heavy rock bands such as [[Black Sabbath]], [[Led Zeppelin]] and [[Deep Purple]] also helped to popularize power chords.{{Citation needed|date=February 2011}} Examples include Deep Purple's "[[Smoke on the Water|Smoke On The Water]]".<ref name="Stephenson">Stephenson, Ken (2002). ''What to Listen for in Rock: A Stylistic Analysis'', p.88. ISBN 978-0-300-09239-4.</ref> On  [[King Crimson]]'s [[Red (King Crimson album)|''Red'' album]], [[Robert Fripp]] thrashed with power chords.<ref>{{harvtxt|Tamm|2002|loc=[http://www.progressiveears.com/frippbook/ch12.htm Chapter Twelve: Chapter Twelve: Objective Art; Fripp's musical legacy: Melody]}}: {{citation|title=Robert&nbsp;Fripp: From crimson&nbsp;king to crafty&nbsp;master
|first=Eric|last=Tamm|authorlink=Eric Tamm (musicologist)
|url=http://www.progressiveears.com/frippbook|ref=harv|year=2003|origyear=1990|publisher=Faber and Faber (1990)|isbn=0-571-16289-4
|edition=Progressive Ears|id=[http://www.erictamm.com/rf.zip  Zipped Microsoft Word Document]
|accessdate=25 March 2012}}</ref> In the 1980s, [[The Cars]] song "[[You Might Think]]" a power chord was performed "by muting the strings and plucking the chord repeatedly."<ref name="Stephenson"/>
 
==Techniques==
 
Power chords are often performed within a single octave, as this results in the closest matching of overtones. Octave doubling is sometimes done in power chords. Power chords are often [[pitch (music)|pitched]] in a middle register. If they are too low, they tend to sound unclear and boomy. When played too high they lack depth and power.
 
[[Image:f5chords.png]]
 
Shown are four examples of an F5 chord. A common voicing is the 1-5 perfect fifth (A), to which the octave can be added, 1-5-1 (B). A perfect fourth 5-1 (C) is also a power chord, as it implies the "missing" lower 1 pitch. Either or both of the pitches may be doubled an octave above or below (D is 5-1-5-1), which leads to another common variation, 5-1-5 (not shown).
 
===Spider chords===
[[Image:Spider chord on D.png|thumb|right|Spider chord on D and B{{music|b}} {{audio|Spider chord on D.mid|Play}}. The "web" of lines in the tab between each successive fret shows the fingering order (5-6-7-8 fingered 1-2-3-4 on strings 5-6-4-5).]]
 
The '''spider chord''' is a [[guitar technique]] popularized during the 80s [[thrash metal]] scene. Regarded as being popularized (and the term "spider chord" coined) by [[Dave Mustaine]] of [[Megadeth]], it is used to reduce [[string noise]] when playing (mostly [[diatonic and chromatic|chromatic]]) [[ostinato#Riff|riffs]] which require chords across several [[strings (music)|strings]].
 
The [[chord (music)|chord]] or technique is used in the songs "[[Wake Up Dead]]", "[[Holy Wars... The Punishment Due]]" and "[[Ride the Lightning]]".<ref name="Jam">[http://www.jamplay.com/video-help/answer-496.html "Video Question: Spider Chords"], ''JamPlay.com''.</ref>
 
<pre>
  D5 Bb5
e|-------|
B|-------|
G|-------|
D|-7-----|
A|-5--8--|
E|----6--|
  3      <
  1  4  <--Spider chord fingering
      2  <
</pre>
 
As seen in the above [[tablature|tab]], the two power chords may be played in succession without [[shift (string technique)|shifting]], making it easier and quicker,<ref name="Jam"/> and thus avoiding string noise. The normal [[Fingering#String instruments|fingering]] would be <math>_1^3</math> for both chords, requiring a simultaneous shift and [[string change]]. Note that the two power chords are a [[major third]] apart, if the first chord is the [[tonic (music)|tonic]] the second is the minor [[submediant]]. The spider chord fingering also allows access to a [[major seventh chord]] without the [[major third|third]]:<ref name="Jam"/>
<pre>
    AM7
e|------|
B|------|
G|------|
D|--6---|
A|--7---|
E|--5---|
    3
    4
    2
</pre>
 
The spider chord requires the player to use all four fingers of the fretting hand, thus its name. This technique then allows you to run down the [[neck (music)|neck]] playing either of the two chords.<ref name="Jam"/>
 
==Fingering==
 
Perhaps the most common implementation is 1-5-1', that is, the root note, a note a fifth above the root, and a note an octave above the root. When the strings are a fourth apart, especially the lower four strings in [[Guitar tuning|standard tuning]], the lowest note is played with some fret on some string and the higher two notes are two frets higher on the next two strings. Using standard tuning, notes on the first or second string need to be played one fret higher than this. (A bare fifth without octave doubling is the same, except that the highest of the three strings, in parentheses below, is not played. A bare fifth with the bass note on the second string has the same [[fingering]] as one on the fifth or sixth string.)
 
        '''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-----------------------------------------------|
 
An inverted bare fifth, i.e. a bare fourth, can be played with one finger, as in the example below, from the riff in ''[[Smoke on the Water]]'' by [[Deep Purple]]:
 
      '''G5/D''' '''Bb5/F''' '''C5/G'''  '''G5/D''' '''Bb5/F''' '''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-------------------|---------------------||
|-----------------------|---------------------||
 
Another implementation used is 5-1'-5', that is, a note a fourth below the root, the root note, and a note a fifth above the root. (This is sometimes called a "fourth chord", but usually the second note is taken as the root, although it's not the lowest one.) When the strings are a fourth apart, the lower two notes are played with some fret on some two strings and the highest note is two frets higher on the next string. Of course, using standard tuning, notes on the first or second string need to be played one fret higher.
 
        '''D5'''    '''E5'''    '''G5'''    '''A5'''    '''D5'''    '''A5'''    '''D5'''    '''G5'''
E||-----------------------------------------------5------10----|
B||---------------------------------10-----5------3------8-----|
G||-------------------7------9------7------2-----(2)----(7)----|
D||-----7------9------5------7-----(7)----(2)------------------|
A||-----5------7-----(5)----(7)--------------------------------|
E||----(5)----(7)----------------------------------------------|
 
With the [[drop D tuning]]—or any other dropped tuning for that matter—power chords with the bass on the sixth string can be played with one finger, and D power chords can be played on three open strings.
 
In order to maintain the alternating dominant and recessive notes, they almost never consist of more than 3 strings.
      '''D5'''      '''E5'''
E||----------------
B||----------------
G||----------------
D||--0-------2-----
A||--0-------2-----
D||--0-------2-----
 
Occasionally, open, "stacked" power chords with more than three notes are used in [[Drop D tuning|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---
 
==See also==
* [[Overtone]]
* [[Intermodulation]]
* [[Electronic tuner]]
 
==Notes==
{{reflist|1}}
 
==References==
 
* {{Cite book
| title = The guitar handbook
| last = Denyer
| first = Ralph
| year = 1992
| others = Special contributors [[Isaac&nbsp;Guillory]] and <!-- NOT [[Alastair Crawford]] -->Alastair&nbsp;M.&nbsp;Crawford
| pages =
| chapter=Playing the guitar, pp. 65-160, and The chord dictionary, pp. 225-249
| isbn = 0-330-32750-X
| location = London and Sydney
| others=Foreword: [[Robert Fripp]]
| publisher = [[Pan Books]]
| edition= Fully revised and updated
| ref=harv
}}
 
==Further reading==
* Crawshaw, Edith A. H. (1939). [http://links.jstor.org/sici?sici=0027-4666%28193904%2980%3A1154%3C256%3AWWWCF%3E2.0.CO%3B2-G "What's Wrong with Consecutive Fifths?"]. ''The Musical Times'', Vol. 80, No. 1154. (Apr., 1939), pp.&nbsp;256–257. {{subscription}}
 
==External links==
* [http://www.fretjam.com/guitar-power-chords.html Guitar Lesson - Various power chord shapes and exercises]
 
{{Chords}}
 
[[Category:Chords]]
[[Category:Guitar performance techniques]]
[[Category:Heavy metal performance techniques]]
[[Category:Guitar chords]]

Latest revision as of 11:37, 11 August 2014

Hi there. Allow me begin by introducing the author, her title is Sophia. Mississippi is the only place I've been residing in but I will have to move in a yr or two. I am currently a journey agent. One of the very best things in the world for him is doing ballet and he'll be starting something else along with it.

My blog post :: authentic psychic readings (visit this website www.rotterdamned.net)