Dexter_prog
New Metal Member
I play three-note powerchords, but when I don't I use index-ring. I only use index-pinky when I'm feeling saucy.
Power chords: index-ring, or index-pinky?
- Thread starter MarcusGHedwig
- Start date
Paulie!
¯\(°_o)/¯ How Do Trigger?
- Apr 29, 2010
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Are we sure he's not doing something with his ring finger? It actually looks like he's fretting an Gb-Db with his middle-pinky and an Ab-F with his index-ring... just saying
-P
Loren Littlejohn
Lover of all boobage.
Flat Fifth Fury
Member
This thread made me think about how I play and I was amazed at what I found was: I always play a three note "power chord" but in different ways depending on what I'm playing and what I'm playing next.
For instance, if I'm playing a chord on the E string I play them like this:
but if I play them on the A string I stick my middle finger up to help mute the E string from all the chugga-chugga like this:
If I just played an E or A chord and my next chord is an F#, G, B or C I play the resulting chord with my middle and pinky in "spider chord" mode:
I play sus2 chords a lot so they are played with index, middle and pinky
When playing a #5 or root 6 power chord I use index and pinky
And of course when playing a power chord on the D string it's the classic index, ring and pinky.
Moral of the story: do what works for what you need.
For instance, if I'm playing a chord on the E string I play them like this:
but if I play them on the A string I stick my middle finger up to help mute the E string from all the chugga-chugga like this:
If I just played an E or A chord and my next chord is an F#, G, B or C I play the resulting chord with my middle and pinky in "spider chord" mode:
I play sus2 chords a lot so they are played with index, middle and pinky
When playing a #5 or root 6 power chord I use index and pinky
And of course when playing a power chord on the D string it's the classic index, ring and pinky.
Moral of the story: do what works for what you need.
no pinky here on the basic root-fifth power chord...fingers in the middle get way too logjammed
SimonTaddio_Qc
Headbanger
I play sus2 chords a lot so they are played with index, middle and pinky
Don't want to be a dick here, but this is a 9th chord, and not a sus2.
The 9th and the 2nd are theorically the same note, but a sus2 (or sus4, for that matter) would mean that there's no 3rd, wich is replaced by the 2nd. Also, since it's 1 octave and 1 step higher that the root, it's the 9th, and the 2nd is 1 step higher than the root.
Harmonically speaking, the chord you're doing here doesn't substitute the 3rd for the 2nd. The 3rd is actually there somewhere, even if you're not playing it.
Just letting you know.
Also, good job with the spider chords, lol, it's good to use them
And, yeah, 9th chords like these root-5th-9th, I use them all the time in metal, I find them much more efficient than regular minor chords, they sound great
Zack Uidl
Member
Don't want to be a dick here, but this is a 9th chord, and not a sus2.
The 9th and the 2nd are theorically the same note, but a sus2 (or sus4, for that matter) would mean that there's no 3rd, wich is replaced by the 2nd. Also, since it's 1 octave and 1 step higher that the root, it's the 9th, and the 2nd is 1 step higher than the root.
Harmonically speaking, the chord you're doing here doesn't substitute the 3rd for the 2nd. The 3rd is actually there somewhere, even if you're not playing it.
Just letting you know.
Also, good job with the spider chords, lol, it's good to use them
And, yeah, 9th chords like these root-5th-9th, I use them all the time in metal, I find them much more efficient than regular minor chords, they sound great
Root + 5th + 9th in any order is a sus2 chord. Where the notes happen has nothing to do with the chord name, just the inversion that you are playing.
There is no 3rd in the chord, so it must be called a sus2. The whole reason for that name is the clarify between whether or not a 3rd is being played.
I totally understand what you are saying, but it is incorrect.
abt
BT
Index pinky 99% of the time. Started playing guitar when I was like 7, hands were way too small to do it the other way. Even now it takes more effort to do index-ring than index-pinky on the lower frets.
This is not a good inductor of anything much other than your hand is completely normal. I have pretty big hands and can strech a long way but if I close them up they look like this. The problem with this is that your fingers are touching your palm. The more distance between your palm and your fingers the further you can stretch. This makes sense so when you grab hold of things or make a fist you don't have fingers going everywhere.
So unless you cradle the neck in the palm of the hand (IMO the plam should never touch the neck) I think the pix indicate a problem that's not necessarily there. I get that there is humor to your post but I thought I should point it out in case someone out there is measuring away at a closed hand lol.
SimonTaddio_Qc
Headbanger
No.
If you'd be playing this chord, the 3rd would still be there, harmonically speaking, even if you're NOT playing it on the guitar.
If, say, the bass or the keyboard would play a Am chord over your 1-5-9 chord (low string, 5th fret) it wouldn't sound dissonant. BUT if you were to play a Am over a Asus2, it would sound like shit.
I also get what you say, but a 2nd is really a step higher than your root, wich is not the case here.
Peace.
Zack Uidl
Member
This might turn out to be a great theory nerd battle
If you are playing that chord, without anything else or other instruments, it is a sus2. I totally get implied notes and things like that, but just talking about that isolated chord, it is a sus2. If there is no third in the chord, regardless of how the notes are arranged.
The thing is, you need a way to clarify the difference between the chords that are meant to be played. Without naming them properly, there is not a good way to distinguish between. This is especially important when working on large scale compositions with many modulations.
sus2 = 1 - 2 - 5
Minor add9 = 1 - b3 - 5 - 9
Major add9 = 1 - 3 - 5 - 9
Maj9 = 1 - 3 - 5 - 7 - 9
Min9 = 1 - b3 - 5 - b7 - 9
If things were to be done your way, how is there any clarification between those?
As an example, if you are performing in the key of Dm and you play a chord constructed of D, E, and A you cannot simply call this a D9 chord (D9 = D, F#, A, C# and E), or a Dadd9 (D, F#, A, and E). If you have no 3rd, it is a Dsus2, or, within that key, you could have a Dmadd9 or Dm9 chord.
The way you are talking about things sounds like you are taking the theory of suspensions (talking about melody and resolution as it was commonly used years ago) and applying to modern harmony (which is not really possible). Calling is a 9th in the way that you are is used to analyze resolutions of suspensions with classical analysis.
The suspension you seem to be blending with this is a 9-6 suspension. (Again, this should really only be used when analyzing music with Roman numerals and figured bass. Figured bass is not common practice anymore anyway...
If you are playing that chord, without anything else or other instruments, it is a sus2. I totally get implied notes and things like that, but just talking about that isolated chord, it is a sus2. If there is no third in the chord, regardless of how the notes are arranged.
The thing is, you need a way to clarify the difference between the chords that are meant to be played. Without naming them properly, there is not a good way to distinguish between. This is especially important when working on large scale compositions with many modulations.
sus2 = 1 - 2 - 5
Minor add9 = 1 - b3 - 5 - 9
Major add9 = 1 - 3 - 5 - 9
Maj9 = 1 - 3 - 5 - 7 - 9
Min9 = 1 - b3 - 5 - b7 - 9
If things were to be done your way, how is there any clarification between those?
As an example, if you are performing in the key of Dm and you play a chord constructed of D, E, and A you cannot simply call this a D9 chord (D9 = D, F#, A, C# and E), or a Dadd9 (D, F#, A, and E). If you have no 3rd, it is a Dsus2, or, within that key, you could have a Dmadd9 or Dm9 chord.
The way you are talking about things sounds like you are taking the theory of suspensions (talking about melody and resolution as it was commonly used years ago) and applying to modern harmony (which is not really possible). Calling is a 9th in the way that you are is used to analyze resolutions of suspensions with classical analysis.
The suspension you seem to be blending with this is a 9-6 suspension. (Again, this should really only be used when analyzing music with Roman numerals and figured bass. Figured bass is not common practice anymore anyway...
Rex Rocker
Call me Hugo!
SimonTaddio_Qc
Headbanger
I will just say "if you say so...", but it's just neither my view on the thing, neither the one of any teacher I had over the years, including music college teachers, which some were among the greatest musical minds I've ever met.
I agree to some extent with what you said but, trust me, I know my chords
Maybe you should just think about/review theory on guide tones a bit more, it's all there really, and it's what makes this note that you played with your pinky a 9th.
Loren Littlejohn
Lover of all boobage.
SimonTaddio_Qc
Headbanger
DanLights
Santa Hat Forever
I am enjoying the theory nerds battle, maybe if a third theory expert could jump in and give his thoughts it would be great
Loren Littlejohn
Lover of all boobage.
abigor731
Member
you can't see it clearly, if he is playing the third its a 9th, if he isn't playing it its a sus2
Dexter_prog
New Metal Member
Line666
Fendurr
- Sep 2, 2006
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I'm not an expert but its semantics really and from what I can see Zach is pretty much right, the sus2 chord omits the third, in a 9th or add9 chords the third is played. (the seventh as well in the 9th)
I've only ever seen that chord referred to as a sus2, to use the other forms you'd have to specify that the third wasnt there like add9(no3) or something like that.
