View source for Power chord

{{Short description|Type of guitar chord}}
{{about||the Mike Krol album|Power Chords (album)}}
{{distinguish|Power cord}}
{{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}}]]
[[File:Power chord fondamentale sulla quinta corda.JPG|thumb|right|200px|A power chord being fretted]]

A '''power chord''' {{audio|Power chord on E.ogg|Play}}, also called a '''fifth chord''', is a [[colloquialism|colloquial]] name for a [[chord (music)|chord]] on guitar, especially on [[electric guitar]], that consists of the [[root (chord)|root note]] and the [[Fifth (chord)|fifth]], as well as possibly [[octave]]s of those notes. Power chords are commonly played with an [[Guitar amplifier|amp]] with intentionally added [[Distortion (music)|distortion]] or overdrive [[effects unit|effects]]. Power chords are a key element of many styles of [[rock music|rock]],<ref>[http://www.melbay.com/guitarglossary.asp "Glossary of Guitar Terms"] {{webarchive|url=https://web.archive.org/web/20071115175447/http://www.melbay.com/guitarglossary.asp |date=2007-11-15 }}, ''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> especially [[Heavy metal music|heavy metal]] and [[punk rock]].

==Analysis==
When two or more notes are played through a [[Distortion (music)|distortion]] process that [[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). [https://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]] containing such intervals (for example, a [[Major chord|major]] or [[Minor chord|minor]] chord) is played through distortion, the number of different frequencies generated, and the complex ratios between them, can make the resulting sound [[Roughness (psychophysics)|messy and indistinct]].<ref>[https://www.bbc.co.uk/dna/h2g2/A33659319 "Distortion – The Physics of Heavy Metal"] {{webarchive|url=https://web.archive.org/web/20091128181402/http://www.bbc.co.uk/dna/h2g2/A33659319 |date=2009-11-28 }}, ''BBC''</ref> This effect is accentuated as most guitars are tuned based on [[equal temperament]], with the result that minor thirds are narrower, and major thirds wider, than they would be in [[just intonation]].

However, in a ''power chord'', the ratio between the frequencies of the root and fifth are 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 makes the [[Frequency spectrum|spectrum]] of the sound expand in both directions, and with enough distortion, a new [[fundamental frequency]] component appears 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). ''[https://books.google.com/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, owing to the [[resultant tone]] (combination tone) effect. Power chords also have the advantage of being relatively easy to play {{xref|(see {{slink||Fingering}})}}, 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 a [[Dyad (music)|dyad]] (separated by 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 makes 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 can sound minor.

==History==

The first written instance of a power chord for guitar in the 20th century is to be found in the "Preludes" of [[Heitor Villa-Lobos]], a Brazilian composer of the early twentieth century. Although classical guitar composer [[Francisco Tárrega]] used it before him, modern musicians use Villa-Lobos's version to this day. Power chords' use in rock music can be traced back to commercial recordings in the 1950s. [[Robert Palmer (American writer)|Robert Palmer]] pointed to [[electric 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 "[[How Many More Years]]" (recorded 1951) and Hare's playing on [[James Cotton]]'s "[[:File:James Cotton - Cotton Crop Blues.ogg|Cotton Crop Blues]]" (recorded 1954).<ref>{{cite book |last=Palmer |first=Robert |editor-last=DeCurtis |editor-first=Anthony |date=1992 |title=Present Tense: Rock & Roll and Culture |chapter=Church of the Sonic Guitar |publisher=Duke University Press |location=Durham, N.C. |isbn=0-8223-1265-4 |pages=13–38}}</ref> [[Scotty Moore]] opened [[Elvis Presley]]'s 1957 hit "[[Jailhouse Rock (song)|Jailhouse Rock]]" with power chords.<ref>{{cite web|url=http://porterbriggs.com/4-guitarists-who-changed-southern-music-scotty-moore/|title=4 Guitarists Who Changed Southern Music (Part 2): Scotty Moore|date=8 January 2018|website=porterbriggs.com|access-date=3 May 2018|url-status=live|archive-url=https://web.archive.org/web/20171107055127/http://porterbriggs.com/4-guitarists-who-changed-southern-music-scotty-moore/|archive-date=7 November 2017}}</ref> The "power chord" as known to modern electric guitarists was popularized first by [[Link Wray]], who built on the distorted electric guitar sound of early records and by tearing the speaker cone in his 1958 instrumental "Rumble."

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>{{cite book |last=Walser |first=Robert |date=1993 |title=Running with the Devil: Power, Gender, and Madness in Heavy Metal Music |publisher=Wesleyan University Press |location=Middletown, Connecticut |isbn=0-8195-6260-2 |page=[https://archive.org/details/runningwithdevil00wals/page/9 9] |url=https://archive.org/details/runningwithdevil00wals/page/9 }}</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>{{cite web |url=http://www.dailymotion.com/video/x37j9_the-who-my-generation_music |title=The Who - My Generation - Video Dailymotion |access-date=2013-06-14 |url-status=live |archive-url=https://web.archive.org/web/20131205072142/http://www.dailymotion.com/video/x37j9_the-who-my-generation_music |archive-date=2013-12-05}}
</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 |last=Tamm |first=Eric |author-link=Eric Tamm (musicologist) |date=2003 |orig-year=1990 |title=Robert Fripp: From crimson king to crafty master |edition=Progressive Ears |publisher=Faber and Faber (1990) |isbn=0-571-16289-4 |id=[http://www.erictamm.com/rf.zip Zipped Microsoft Word Document] |url=http://www.progressiveears.com/frippbook |access-date=25 March 2012 |url-status=dead |archive-url=https://web.archive.org/web/20120321220457/http://www.progressiveears.com/frippbook/ |archive-date=21 March 2012}}</ref> Power chords are important in many forms of [[punk rock]] music, popularized in the genre by [[Ramones]] guitarist [[Johnny Ramone]]. Many punk guitarists used only power chords in their songs, most notably [[Billie Joe Armstrong]] and [[Doyle Wolfgang von Frankenstein]].

==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.

[[Image:f5chords.png]]

Shown above are four examples of an F5 chord. The letter names above the chords only indicate which different voicing is being used, and should not be conflated with the chord names typically used in popular music (e.g., C Major, B minor, etc.) 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 1980s [[thrash metal]] scene. Regarded as being popularized and named by [[Dave Mustaine]] of [[Megadeth]], it is used to reduce [[string noise]] when playing (mostly [[diatonic and chromatic|chromatic]]) [[ostinato#Riff|riffs]] that 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"] {{webarchive|url=https://web.archive.org/web/20100706230544/http://www.jamplay.com/video-help/answer-496.html |date=2010-07-06 }}, ''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 (music)#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 one 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 must be played one fret higher than this. (A [[perfect fifth|bare fifth]] without octave doubling is the same, except that the highest of the three strings, in brackets below, is not played. A bare fifth with the bass note on the second string has the same [[Fingering (music)|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 barre fifth, i.e. a barre 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 must 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.

      '''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|30em}}

==References==
* {{Cite book
 | last = Denyer
 | first = Ralph
 | others = Special contributors [[Isaac Guillory]] and <!-- NOT [[Alastair Crawford]] -->Alastair M. Crawford; Foreword by [[Robert Fripp]]
 | date = 1992
 | title = The guitar handbook
 | edition= Fully revised and updated
 | chapter=Playing the guitar, pp. 65–160, and The chord dictionary, pp. 225–249
 | publisher = [[Pan Books]]
 | location = London and Sydney
 | isbn = 0-330-32750-X
}}

==Further reading==
* Crawshaw, Edith A. H. (1939). [https://www.jstor.org/stable/923031 "What's Wrong with Consecutive Fifths?"]. ''The Musical Times'', Vol. 80, No. 1154. (Apr., 1939), pp.&nbsp;256–257. {{subscription required}}

==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]]