Power Chords and Rhythm Guitar Lesson

Chapter 1: (00:32) Lesson Introduction In this lesson, Dennis introduces you to power chords. These chords receive their name from the aggression and energy that they convey. Dennis explains the music theory behind power chords and demonstrates them within a practical metal context. Chapter 2: (03:10) Power Chords!! Music Theory

When a musician refers to a power chord, he or she is typically referring to a specific interval played simultaneously. An interval is the musical distance between two notes. In the last lesson, you learned about half steps and whole steps. If you combine half steps and whole steps, other intervals are formed. Usually, when someone is referring to a power chord, he or she is talking about an interval called a "perfect fifth." The perfect fifth interval is comprised of 7 half steps. It is important to realize that there is one other type of fifth interval. The diminished fifth is one half step smaller than the perfect fifth.

Some guitarists consider a power chord to be any combination of two intervals. For example, many players refer to a low root note combined with a major third above as a major power chord. To provide another example, you may hear guitarists referring to the "diminished power chord." This is simply a root note combined with the diminished fifth interval above it. J Yuenger of White Zombie fame popularized the title "skronk chord" in reference to this power chord's strange, evil sound.

Dennis demonstrates a trick that enables you to find the perfect fifth above almost any natural note. Although this hand counting method is useful in some situations, it does not work for every given root note. This trick only works with the following root notes: A, C, D, E, F, and G. This trick does not work from B to F, because these two notes represent a diminished fifth interval. Also, the trick does not work for root notes that contain either a sharp or flat. When it comes to spelling power chords built from these roots, you must know and understand all of the information presented on the circle of fifths.

Playing Power Chords

In the metal genre, power chords are most frequently played with the lowest note on either the seventh, sixth, or fifth string. These power chords produce the most aggressive sound. Dennis begins by demonstrating an A5 power chord. (The "5" is written after the root note to indicate the perfect fifth interval.)

To play this chord, place your first finger on the 5th fret of the low E string. The perfect fifth interval will always be found up two frets on the fifth string. From the hand trick, you know that the perfect fifth above A is the note E. Most guitarists choose to play the fifth with the third finger. However, guitarists such as Kirk Hammett and Dimebag Darrell have been known to play power chords with the first and pinky fingers.

Repeat the same process Dennis walked you through with A and G to determine the perfect fifth above all 12 notes in the chromatic scale. If you get stuck, reference the "Supplemental Content" section for some extra help. Chapter 3: (03:43) More Power Chords Dennis provides some tips on switching back and forth between power chords. When switching between two power chords on the same string, be careful that you do not over or undershoot a fret. For example, when switching from a G5 power chord on the sixth string to an A5 power chord on the same string, it is very easy to overshoot the 5th fret with the first finger.

Also, in addition to switching back and forth between chords with the root on the same string, it is very important that you master switching back and forth between sets of power chords on different strings. Dennis briefly alludes to an exercise that helps with this process.

Note: Open the "Supplemental Content" tab for tablature to this exercise. Chapter 4: (05:58) Basics of Rhythm When playing in a band, many young players have a very flawed concept of rhythm. Many of these players say, "I'll just let the drummer keep the time." In any ensemble situation, this mindset isn't going to cut it. Every member of the group must have perfect metronomic timing in order to keep the overall groove steady. What if the drummer has bad time? Or, the drummer may normally play well, but he/she may be playing the rhythms in a certain section incorrectly. In these situations, you the guitarist must set everyone straight.

Be sure to check out Brad Henecke's lessons on rhythm and timing. In this scene Dennis elaborates on some rhythmic exercises from Brad Henecke’s Phase 2 Speed and Technique lesson series. He also demonstrates some new rhythmic exercises for additional practice. For more rhythm exercises, please visit Matt Brown's Phase 2 series pertaining to reading music and rhythm.

Whole Notes

A whole note lasts for a whole measure of 4/4 or "common time." A measure of 4/4 time is comprised of four equal beats. Therefore, a whole note receives four beats. Count "1, 2, 3, 4" when playing a whole note in this time signature.

Exercise 1

This exercise consists of a few basic power chords. Both the G5 and A5 power chords are held for a whole note each. Although this exercise is simple, do not neglect its importance. Many beginners think they can play such progressions with ease. However, when a metronome is turned on, each whole note is cut short. Rhythm is the most important aspect of music. For this reason, you must practice with a metronome as much as you can possibly stand it. If you make a mistake, simply keep going. Keeping the rhythm intact at all times is your highest priority.

To internalize the click of the metronome, tap the beat with your foot, and count each beat aloud while you play. Combining multiple brain functions will improve your rhythmic feel more efficiently.

When trying something new such as playing along with a metronome, repetition is key. Don't quit an exercise right after you have mastered it. Rather, continue to play it until it becomes effortless. Don't move on to the following exercises until you can play this one consistently perfect with the metronome.

Exercise 2

The simple progression featured in this exercise shows up in countless metal classics. It can be found in both "Paranoid" and the "Trooper." Lessons pertaining to these songs can be found in JamPlay's Phase 3 section. Chapter 5: (03:22) Half Notes A half note is worth half the value of a whole note, or two beats. A half note is indicated in notation by an open note head with a note stem attached to it.

Exercise 3

This exercise consists of B5 and C5 power chord held for two beats each. Play this exercise at a variety of metronome settings.

Exercise 4

This progression features the following chord changes: A5, G5, F5, back to G5. This is the exact same progression demonstrated in the previous scene. This time around however, the progression is played in the key of A natural minor, and the chords change more rapidly. If you are having problems playing power chords this low on the fretboard, practice some basic finger dexterity and flexibility exercises. Then, return to playing this exercise. You may find the stretch between the first and third fingers a little bit easier as a result of this practice. Chapter 6: (05:05) Quarter Notes A quarter note receives one quarter of the value of a whole note, or one beat.

Dennis demonstrates a very economical way to switch between the open E5 and F5 power chord at the first fret. Use the middle finger to fret the note B within the E5 chord. Then, use the standard power chord grip for F5. This is a very common chord movement in the metal genre. This fingering allows you to switch between these chords effortlessly. Economy of motion is paramount when playing fast. You also will not tire as easily. Almost all great rhythm players are advocates of this economical chord fingering including Dave Mustaine, James Hetfield, Dimebag Darrell, Scott Ian, J Yuenger, etc. It is also possible to use a more economical fingering when switching between open E5 and G5 at the third fret. Simply fret the note B in the E5 chord with the first finger. Then, fret the G5 chord with the second and fourth fingers.

Exercise 5

An E5 chord is played in quarter notes followed by an F5 chord played in quarter notes. The pick should make contact with the strings at the exact time that the metronome clicks.

Also, practice this exercise playing chords with roots on the 5th string. Finally, play the same exercise one octave higher on the low E string.

Exercise 6

This progression consists of E, G, C, and B power chords. Each chord receives four quarter notes. The Roman numeral analysis of these chords are i, III, VI, V (key of E minor). This chord progression is very common in the metal genre.

Exercise 7

Dennis provides you with one final power chord progression. Once you have mastered the exercises in this lesson, you will be ready to take on some basic metal riffs such as "Iron Man" or "Smoke on the Water."

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