"Breaking Out of the Box" #3 - Alan Robinson

The Power of "Power Chords": Part 3

Alan Robinson

Using “power chords” (5 chords) for extended harmonies (tensions)

There are basically 2 grips for a “power chord” (5 Chord). Grip 1 uses the first finger (index) and the fourth finger (pinky). Some may choose to use their third finger (ring) instead of the fourth but I find it easier with the fourth. Grip 2 uses a barre grip. This can be achieved with one finger barred or using two separate fingers. Either way both notes are on adjacent strings and the same fret. Below is a C5 power chord in both grips.

Here is an example of a C5 power chord in both grips over all string sets up to the 12th fret.

Traditionally, as a rock player, we would use this chord as the root chord. What I mean is, a C5 chord is just that a “C” chord.

We are going to expand how we use this voicing. Instead of the chord representing the root and 5th we will assume another root for the chord and these two note will represent other chord tones of extended harmonies (tensions). For now we are going to have these notes function as a 3rd and 7th is some capacity. The 3rd and 7th of a chord identify the chord quality as being major or minor. They are the most essential tones in the chord.

As a guitarist, we can simply play these 2 notes and the chord will sound complete when a bassist plays the root. This allows us to blend with a group and have a specific spot within the sound spectrum. This is especially important in music such as jazz, Latin, and some pop forms.

Let’s start by looking at one of the most important chord progressions (changes) in jazz. The II-7/V7/IMaj7 progression. You will use your power chord knowledge using assumed roots to create a more complex sound. In the following examples you should take note that the first finger (index) in a sense points to the tonic root (key) or the I. An “X” will be used to identify the assumed root which is the actual root of the chord you are playing. You will not play the root, that’s bassist job.



Using “power chords” (5 chords) for extended harmonies (tensions)

Grip #1

Using “power chords” (5 chords) for extended harmonies (tensions)

Grip #2

Let’s apply this power chord concept to a standard set of jazz changes. We will call this piece

 “It’s Getting Colder Outside, Let’s Make Like  a Tree and…”

Here are the original chord changes to the tune’s A Section:

A-7       |  D7  |  GMaj7  |  CMaj7  |

F#-7b5  |  B7  |  E-7        |  E-7     :||

The diagram below shows all of the notes through power chords that we will use. This exercise will only use string set 4-3.

Here are the first four chords. The power chord is highlighted in blue as the chord changes. The “X” indicates the assumed root. I have left the entire diagram so that you can see the flow as it moves through the changes.

Here are the second four chords. The power chord is highlighted in blue as the chord changes. I have left the entire Diagram so that you can see the flow as it moves through the changes.

Here is the repeat of the first four chords. The power chord is highlighted in blue as the chord changes. I have left the entire Diagram so that you can see the flow as it moves through the changes.

Here is the repeat of the second four chords. The power chord is highlighted in blue as the chord changes. I have left the entire Diagram so that you can see the flow as it moves through the changes.



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Have fun and create your own exercises because that’s where you start to own the process!

Play on…

Alan