ATER Example 28¢ Poting the fifh in the bass of c power chord is aio on extremely effective compositional device that adds some mect tothe fexdure of a song, especialy if he bass player is ploying the chord’s root note below it. BSire cx DSIA BFE Example 28D ‘One other type of power chord involves the addition of the chord’s 9th (over « BS chord the ninth is C) to the basic root and Fith chord structure. On the Fingerboard, this actualy takes on the physical appearance of two power chords stacked on top of one another. {In order to thoroughly understand where chord tones and chord extensions originate, itis necessary to beceme familiar with the scales from which these notes are derived. Below are some common one-octave fingerings for the C major (lonicn], C ‘minor (Aeolian) and C Mixolydion scales (R = root, 2 = 2nd note of the scale, etc.) Immediately to the right of each of these scales is on arpeggio beginning with the note C. These arpeggios access every other note of the scale Inthe cose ofthe C ‘ojor scale — the scale's root (C), third (E), ith (G), seventh (8, etc. tis this patie thot can be used to form a variety of difforent sounding chords, each with C as their root note. When the notes C, E, Gand B(R - 3 - 5- 7) are sounded simultaneously, the soncrity that is generoted is colled « major seventh chord. Thot’s becouse the chord consists of a major triad, spelled: R (C] 3 {E) 5 (G), and the next successive chord tone, the seventh (B). In chord construction, after the seventh note ofc scale [”8" in this case), the notes that follow go beyond one octave and begin te accoss what are called “extensions.” The ninth (D) is one octave and a whole step above the root ncte (Cl, but its stil really as ifthe second note of the scale were fo be played in a stepwise manner from its point of origin (that’s why the “2 * is in parentheses next to the 9"). However, iFa chord that’s being played already consists of the four notes from the scale's arpeggio all the way up to the seventh, any additional note functions os an extension. Thats where chord symbels like Cmaj?, Cmaj11 and ‘Cmaj13 come from.(Eee ‘C major (lonian) chord tones and extensions eit C major (lonian) 7 9) 11) 136) R C minor (Aeolian) chord tones and extensions C minor (Aeolian) les R $7 92) 114) 61366 R CMixolydian C Mixolydian chord tones and apa iens ~ $7 92) 114) 136) RK Example 29 Below cre variations of a simple power chord altered with the addition of just ene note: * C5 isthe basic power chord. ‘+ Add the 3rd note from the C major scale (Eto create aC mojor chord (C). ‘+ Add the minor 3rd (Eb), borrowed from the C minor (Aeolian) scale, for a C minor chord (Cm). + Csus2is the result of adding the 2nd note from the mojor scale (D). Remember, since this chord does not contain he 3rd, the D functions as a 2nd instead of a Mh. * Introduce the fourth note of the major scale (F to the basic power chord to form Csus. Since there isn't a 3rd present, the ‘this seen os suspending the 3rd to a Ath instead of funefioning as an added | 1th. cs c cm Csus?. CsusZANTE Example 30 Now let's repeat the process but this time add two notes to the C5 chord: ‘+ Add the major third (E) and the major seventh (B) ond you have a Cmaj7 chord. The addition of the minor third (Eb) and minor seventh (Bb) Cm7. If the major third (E) and minor seventh (Bb) are added to the C5, this yields the dominant chord C7. Cmaj7 cm cr Example 31 Now add a 9th (D) to the top of the major and minor triads. * C{9) can be described as a C5 with major 3rd (E) ond the 9h (D] added. '* Cm(9) involves the addition of the minor third (Eb| and the ninth (D) to the C5. co) Cmi9) Example 32 Now let's include the | Ith: * When added fo the power chord, the addition of the major third (E) and the eleventh (F) creates « C{11). * Add the miner third (Eb), minor seventh (Bb) ond the eleventh (F) and you have « Cm11 chord. This chord voicing is arranged in a manner that allows for the Sth (G) to be played in the boss. cay milExample 33A With this new information, it row becomes possible fo toke a basic chord progression, consisting of only power chords, and develop the sound ofthe chords to acd some spice. For example, ls take a typical chord progression involving the chords AS, F5 and G5. Example 33B a Sa eee S e You con make theso simple chords sound much more interesting by: * Taking the AS and edding the minor 3rd (C) and 9h (8) creating on Am(%h). * The F5 chord is transformed into Fsus2 with the addition ofthe 2nd (GI. * The G5 chord is mutated into Gsus2 as the chord’s 2nd (A is incorporated, Am(9) Fsus2, Gsus2This next example points to the importance of “orchestration.” Orchestration is the act of assigning specific parts in o piece of ‘music to specific instruments. When done well, this can add a new dimension to an ensemble. The example that follows demonstrates one woy in which a band comprised of two guitars could take advantage of their instrumentation by creating ‘wo distinctly different parts. In an effort to maximize the effect of the chords studied previously, these types of extended sounds were played arpeggio style on @ guitar using a clean tone so each of their dramatic colors can be distinguished. An additional guitor, wth @ distorted lone, adds the power chords from which these extended sounds ware originelly derived. Exomple 344 is the clean guitor part. Asus? Bsus Cmaj7 ctm7 pa) co) Am() Gsus2 DORE Femit Feus2 Esus E FH7(L1) AG) BO) Cem? Jeune | OJo eoeit‘CJ LPart IX: Chordal Technique 75 Example 34B Bolore you tackle the forthcoming audio example, make sure you understand the following analysis. side by side comparison ofthe original “5” chord tothe full voicing makes it easier to see exactly how each of the basic chords were transformed. Notice how often the addtional notes are the resuit of cllowing open strings o ring thet are otherwise muted or ‘voided when playing just the “power chord.” ‘Fig. 1: An A5 becomes Asus? by adding the 2nd. 2: Depicts a BS which, with the oddition of its 4th, becomes Bsus. 3: By adding the 3rd and 7th to C5, Cmoj7 is created. 4: C¥5 becomes C7 by adding the minor 3rd and minor 7th 5: DS/A is completely reworked by eliminating the Sth (A), and adding the major 3rd and the 1 1th to get D(1 1). 6: Transform the C5 into C(9) by adding the major 3rd and 9h. Fig. 7: AS becomes Am(9) with the incorporation of the minor 3rd and the 91h. 8: AGS becomes Gsus2 by adding the 2nd. * Fig. 9: Add a 2nd to D5 to create Dsus? Add the 3rd in the boss and the 2nd becomes o 9th resulting in @ D(O|/FE. * Fig. 10: FS becomes Fifm11 with the addition of the minor 3rd, minor 7th and the 11th. 11: F5 chord is transformed to Fsus2 when the 2nd is included. 12: ES is expanded into Esus with the addition of that chord’s 4th. 13: By replacing the 4th of the previous chord with a 3rd you have an open-position E. 14; F45 with the addition of the 3rd, the minor 7th and 11th, results in F#7(1 1). 15: AS becomes A(9) by adding the 3rd and 9th. 16: BS becomes B(1 1) by adding the 3rd and 11th. ‘Fig. 17: C#5 becomes Cm7 like Fig. 4 In the accompenying audio, the “power chord” ore played live, with o distoried guitar tone, agains! a programmed sequencer playing the orpeggiated port. Fig. 1 Fig. 2 Fig. 3 Fig. 4 AS ‘Asus? BS Bsus cs Cmaj7 ces C#m7 = Fig. 5 Fig. 6 Fig. 7 Fig. 8 DSA Dill) cs ce) AS Am(9) GS ‘Gsus2,ZETA Te TOTS Fig. 9 Fig. 10 Fig. 11 Fig. 12 DS DIWFE FS Femi B58 Fsus2 ES Esus & Fig. 13 Fig. 14 Fig. 15 Fig. 16 Fig. 17 ES Eg FHS: FAT) AS A) BS Bil) CHS Chm7 ve Yes = Example 35 The previous example involved a handful of chords thal provide an interesting point of departure from typical “power chord” sounds. However, he progression in which these chords were played functioned more as a vehicle for learning, as opposed 0.0 song-orienied chord cycle. The example that follows incorporates many of the sama chords, but mora like a real piece of music that could be used as 0 background to « vocel part, or to accompany a solo. Once again, the power chords were ‘added with distortion while the sequencer plays the second guitar part. Gtr. 1 (Dist.) Asus? op co) DOYFE Gous2 Fsus? *Gtr.2 (Clean) Rhy. Fig. L-~ If hold troughout Tie B * Sequencer arr for gtr, Harmony derived from both ge. paris combined (throughout)CECT Re eee Asus on co) Day cém7 AQ) Chm7 FHTsus BS Rhy. Fig. 2 -wiRhy. Fig. 1 (Gir. 2) 2 times C#m ES Ba) Gtr. 1 Asus2 GB C9)PERE DCD/FF Gsus2 Fsus2 Asus2 oe cm DAN) Asus? CR Ce) DCFH Gsus? Fsus2 Asus on cy) w/Rhy. Fig, 2 (Gir. 2) 2 times Daly Chm? AQ) C$m7 FE7sus BS Cim7 AQ) Cm? ES BI) C#m? A) | | a |res Chm? Fi7sus BS Chm? AQ) i ‘wiRhy. Fig. 1 (Gir.2) 2 des Chim? FS BULL) wegen Asus2 on co DAL) iFE Gsus2 Fous2 Asus on co) Da aes Asus? cn co) DUI/FE Gaus? sus Asusd cE CO)cor Crees ‘WiRhy. Fig.2(Gtr,2)2 times Day ee cim7 AQ) Chm? FA7sus Bs chm? Ag) Ctmt ES BI) CHm7 AQ) CHm7 FiTsus BS Chm? AQ) wiRhy. Fig. 1 (Gtr. 2)2 times chm? ES Bal) Asus) GB co) a A 2 DULyrE Gsus? aus. Pei bee eee tt Supuy pk ey cS (ie Aop 9) Da) Ayo wiRthy. Fig.2 (Gr. 2)2 times Cm? A@) Chm? F¥75us BS <— Chm? AQ) Chm? ES Ba)Ctm7 chm? Day AQ) ES Bal) Ctm7 F#7sus ‘wiRhy. Fig, 1 (Gir. 2) 14 times Asus? on Asus2 BS op C1) wep co)Ree Me he el Bese a mee teed eee et Cee Tl a reel one of the most respected and talked about guitarists of the ‘90’s. He has been featured in virtually every major guitar publication worldwide and was voted “Best Guitarist for 1994” in “Guitar” magazine and “Break Through Guitarist of the Year (1993)” in “Guitar For the Practicing Musician” magazine. This powerful and all encompassing book starts with a valuable segment on warm-ups followed by up-to-date r Se ME SEC lee tesla ae ole Nad information explosion. John has provided detailed Poa a Meta eo mtd Peli Ms eer tah cciea tte and scale fragments. Other topics Play Me ally eggios, string ‘sweep pickin; o technique to expand the color and texture are detailed transcriptions eee a ey CR eS ea oe special etudes ranging aster to very challenging. 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