When two or more notes are played through a distortion process which non-linearly transforms the audio signal, additional harmonics are generated at the sums and differences of the frequencies of the harmonics of those notes.[2]
When a normal chord (for example, a major or 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 messy and indistinct.[3]
However, in a power chord, the ratio between the frequencies of the root and fifth is simply 3:2 (see interval) . When played through distortion, this leads to the production of harmonics closely related in frequency to the original two notes, producing a more coherent sound. Additionally, the spectrum of the sound is expanded in both directions, producing a richer, more subjectively 'powerful' sound than the undistorted signal. With large amounts of distortion, the fundamental can appear to be an octave lower than the root note of the chord played without distortion, again giving a more bassy and powerful sound.[4]
Even when played without distortion, the simple ratios between the harmonics in the notes of a power chord can give a stark and powerful sound.
Power chords also have the added advantage of being relatively easy to play (see "Fingering" below), allowing fast chord changes and easy incorporation into melodies and riffs.
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 and classical music, it would not usually be called a 'power chord', and may be considered to be a dyad or simply an 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, 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 and synthesizer players.
Power chords are notated 5. For example, C5 (C power chord) refers to playing the root (C) and fifth (G). These can be 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.
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 within the context of major chords, it will sound like a major chord, but when played with minor chords, it will sound minor.
Although the power chord is associated with a distorted sound, most guitarists would consider that a power chord fingering can be called a power chord whether played through distortion or not.
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When a normal chord (for example, a major or 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 messy and indistinct.[3]
However, in a power chord, the ratio between the frequencies of the root and fifth is simply 3:2 (see interval) . When played through distortion, this leads to the production of harmonics closely related in frequency to the original two notes, producing a more coherent sound. Additionally, the spectrum of the sound is expanded in both directions, producing a richer, more subjectively 'powerful' sound than the undistorted signal. With large amounts of distortion, the fundamental can appear to be an octave lower than the root note of the chord played without distortion, again giving a more bassy and powerful sound.[4]
Even when played without distortion, the simple ratios between the harmonics in the notes of a power chord can give a stark and powerful sound.
Power chords also have the added advantage of being relatively easy to play (see "Fingering" below), allowing fast chord changes and easy incorporation into melodies and riffs.
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 and classical music, it would not usually be called a 'power chord', and may be considered to be a dyad or simply an 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, 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 and synthesizer players.
Power chords are notated 5. For example, C5 (C power chord) refers to playing the root (C) and fifth (G). These can be 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.
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 within the context of major chords, it will sound like a major chord, but when played with minor chords, it will sound minor.
Although the power chord is associated with a distorted sound, most guitarists would consider that a power chord fingering can be called a power chord whether played through distortion or not.
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