![]() ![]() You can also refer to that kind of chromaticism as "modal" flavoring. For example in C major you can use roots B flat or E flat rather than B and E natural. You can use "borrowed" chords from the minor mode. While you may be playing power chords on guitar, if there is another part like a lead guitar or a voice singing, the combination of those parts is very likely to result it the power chords being filled out to full major or minor triads. In other words breaking out of plain diatonic progressions. The comments on your post hint at not dissonance per se, but going beyond using only root in the major scale. Regarding major mode, power chords (chordal fifth without a third), and dissonance. For example take a series of roots changes C F C G C, then using | for barlines and / for beats, consider these two harmonic rhythms. finally, a big factor is harmonic rhythm, which is how long you hold the chords.I put m for minor in parenthesis to show those progressions imply the A chord is minor. From your progression example, it looks like you haven't tried, for example, all descending steps like A(m) G F E or ascending F G A(m). Think in terms of ascending/descending roots and the intervals used, you can think of three general categories of intervals for the root changes: seconds (whole or half steps), thirds (which tend to work in relative major/minor pairs), or fourths and fifths. Watch your root changes and try to use a variety.Change the tonal center (key), try D or B flat, etc. If you always write in C major, it will become monotonous.I can't tell if E / D / A / G are options and then you continue with C and E power chords.Īt any rate, I think I get the general idea. A typical progression might be ( E / D / A / G ) -> C -> E.
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