Pentatonic Chord Voicings

Pentatonic Chord Voicings

Alan Robinson

Hey everyone! It's time for a new lesson in chord voicing. For this lesson we are going to stay with the focus on pentatonic scales, but rather than seeing them as an actual scale we are going to create chords. Just like major and minor scales yield chords by stacking diatonic 3rds this process will be similar. Traditional harmony uses the following intervals to create triads: M3rd+m3d= Maj triad, m3rd+M3rd = min triad. There are three different formulas for pentatonic chords using the following intervals: M2+P5, m3rd+P5, m3rd+m6th. Note as a stand alone that I didn't identify these "chord formulas" as major or minor. The reason for this is that they are all related to a shared root and actually derived from the pentatonic shape more than the intervals that are yielded. Hopefully, this will make more sense as we move forward.

Let's work with Box #1 of the pentatonic scale. We will use E minor pentatonic for all examples.

Ex.1

"Breaking Out of the Box" #4 - Alan Robinson

The Power of "Power Chords": Part 4

Alan Robinson

The Power Chord Matrix 

Using the grid below you can select various “power chords” to play the desired chord tones/tensions.

The column on the left side indicates the chord quality and function within the key. The row at the top identifies the power chord (5 chord) from each scale degree/note within the key. The blocks highlighted in red are poor choices and will most likely change the chord function. These combinations should be avoided. The blocks highlighted in grey are available but either contain the root or 5th of the chord. Neither the root or 5th define the quality or add any true color. These can be used but leave a bland sound. The blocks in white, without highlights are possible choices which will add essential chord tones (3rd/7th) and/or tensions (9/11/13) to color the chord.

Using the grid below you can select various “power chords” to play the desired chord tones/tensions.

For an example let’s say we need to play a CMaj7(13) chord. We are in the key of “C” and therefore the chord will function as the I Maj7. (see example below)

"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.

"Breaking Out of the Box" #2 - Alan Robinson

The Power of "Power Chords": Part 2

Alan Robinson

Hey everyone! Back to yield the power of power chords. In the last segment we looked at power chords in the traditional fingering of root/fifth. In this segment we are going to invert the chord and place the fifth on the lower string (Example 1). We now have the interval of a fourth but the chord is still a G5 in tonality. By inverting the chord we can generate a whole new set of voicing's to expand our chord and fretboard knowledge.

Just as we did in the previous segment, let’s look at the G major scale played in power chords on string set 3&4. (Example 2) Not again that the seventh chord in the sequence is the only fingering change in comparison to the rest. Again, we will come back to this chord in a future segment.

"Breaking Out of the Box" #1 - Alan Robinson

The Power of “Power Chords”: Part 1

Alan Robinson

Hey everyone! I am very excited to introduce this lesson series with Skinny Devil Magazine.  I hope that I can share some information that will allow you to enhance your playing and fretboard knowledge to a whole new level. So without any delay...let’s jump in!

How would you like to expand your chord vocabulary without spending hours upon hours looking at chord books and diagrams that look like your fingers are playing Twister? Where you can achieve all of those sophisticated sounds to include 9ths, 11ths, 13ths, and more but not study calculus and trigonometry in order to understand! Okay, those may be exaggerations to an extent but what if you could accomplish these goals by using 2 notes? Well, you can!

The “Power chord” or chords based on Root/Fifth (i.e. E5, A5, G5, etc…) have been best friends with rock guitarist since the beginning of time. The great news is that they can become an even better friend in creating these awesome advanced sounds. With some simple adjustments and application, power chords placed in the proper locations yield a multitude of harmonic possibilities.