Open Position Power Chords
Adding a Passing Note (b3 from E minor pentatonic)
The dots indicate staccato notes, which are played shorter. In this example, the x's are on the beat where you will stop the strings from ringing with the side of your picking hand.
This example contrasts short staccato chords with tenuto chords (-), where the notes ring out for their full value. Again, the x's are when you will "stop" the strings with your picking hand.
The G5 and A5 chords are played early, on the "and of 4", creating an anticipation, which creates forward motion and energy.
This example takes the anticipation idea further, with D5 being played on the "and of 3". With both the D5 and A5 played on the off-beats, we are now experiencing syncopation. The last part of the example uses palm muting (P.M.), where you gently rest the side of your hand on the bridge as you pick, creating a tight, percussive sound.
The > written above some of the chords is an accent, which means you play those notes a little louder than the others. This example is a combination of accents and palm muted chords. G5 is introduced in the last bar - try keeping your 3rd finger in place when you change from G5 to D5.
This example introduces a "boogie rhythm" idea, heard in countless Blues, Rock, and Rock and Roll songs. Keep your 1st finger in place for the A5 and simply place your 3rd "in front" of it to play the A6, then lift your 3rd finger to return to A5.
This example introduces the C5 chord, and revisits the anticipation idea in bars two and four.
This is example uses a cool effect called displacement. We have a simple quaver/eighth note rhythm that is played four times, but because we place a quaver/eighth note rest between each repeat, the rhythm "shifts" to a new place each time.
This example is similar in approach to Exercise 7, where we combined accented and palm-muted notes. However, this example introduces a concept called a pedal, where the chords change, but there is a constant low A note played throughout the first two bars.
This final example uses the first three chords we started with, but adds some of the ideas we have discussed; contrast between staccato and tenuto, anticipation, and syncopation.
Experiment with these ideas yourself and try to create your own riffs! You'll be amazed at how cool you can make the simplest chords sound with a little experimentation. Below is a checklist of the ideas you can add to your own riffs;
Passing Notes
Staccato & Tenuto
Anticipation
Syncopation
Displacement
Palm Muting
Accent
Boogie Rhythm
Pedal