I’m having a problem writing root-fourth-octave chords on the chord track. A simple guitar power chord where the fifth is replaced by the fourth.
I googled it and I found I have to note it as a sus4, but that gives me root-fourth-fifth (as I already expected), so I either need a, say G4 power chord, or a Gsus4(no5) option. (a C/G wont work, because this changes the context of the chord in the pattern. I need a G-chord to keep a logical progression.)
How do I enter this in the chord track? I don’t mind the 3rd being added to the chord, as long as the fifth is not there.
Why don’t you load another midi track and just draw in the notes for that one chord ,where your chord track doesn’t play ,the duplicate will fill in the gap ,if you set up the same vst instrument with same sound .maybe
A ‘power chord’ without the root octave is a dyad, two-notes. Two notes are an ‘interval’, not a ‘chord’.. Ask the right guitar player, they might even call it a ‘double stop’ heh.
Whatever you call it - chord, interval or dyad - there’s defintly room for improvement when it comes to the chord track. These are common harmonic accompaniments in popular music and the chord track should be able to correctly reflect them.
Back when I was studying music theory, almost all of the music theory books (in Greek) made the distinction between {sound-together} and {special-sound-together=chord}. But I can’t bring myself to recall the word in English. There’s consonance alright, in the sense of simultaneity, but I feel that consonance as a word is more about the “agreeable” quality of the sound rather than just simultaneity? Anyone know if there’s such a word?
Hi @ggmanestraki ,
the concept of consonnce and dissonance also refers to consecutive intervals. When it comes to the definition of power chords you’ll find various approaches depending on the standpoint of the analyzer being a traditionalist or following a more modern approach.
IMO, power chords should have become an integral part of the chord track long time ago since they are an integral part of today’s harmonic repertoire.
Well, yes, it would be nice to have for those that have a need for it, but I’m not sure how it would work together with the other features of the chord track, like the Chord Assistant. If they [power chords] were considered chords (which they are not, technically speaking) they would show up in almost every solution and cadence, which isn’t very useful in my opinion.
But sure, power chords should be available both for transcription from an audio track, and as entities for populating the chord track.
Following your line of argument, sus4 chords must be considered high risk solutions for harmonic progessions, too, no?
Jokes aside, I would just add power chords to the list of possible layout options of a given chord. Just replace thirds with fifths and octaves. Even at the risk of some acknowledged music theorists from the 18th century rolling over in their graves
Somewhat , but not really if you have already established major/minor.
It’s not religious fanaticism. It’s about the simple task of someone being able to produce the second degree chord of a scale if I tell them X major is the I or X minor is the I. If I tell them G power chord is the root, what’s the second degree power chord? A and what?
I know… I’m familiar with pretty much all chord and scale detection algorithms based on “old school” music theory. They don’t always apply to modern harmonic progressions.
Small history excursion:
Just have a look at the famous minor Beatles subdominant in a major scale. Or going even way more back in time, the Picady third. Wagner’s diminished chords sequences, Debussy…
A simple powerchord seems like an easy one compared to the rich harmonic tradition with all its fantastic ambiguities…
Its simplicity is exactly what makes me (personally) so reluctant as to accept it as a harmonic construct, and file it in the same drawer with “stack perfect fourths or fifths” “sus chords” “have power chords and add a diatonic third to the melodic contour” “stack a n-1 semitone interval starting from a perfect X” and other stuff people know and use when we’re not trying to produce a divertimento. But, if not divertimenti, I think the chord track is designed with more predictable, functional harmony in mind.
A power chord can be used regardless of the harmonic context. Whether the chord is major or minor makes no difference, as it contains no third. It generally consists of a fifth plus the octave, or a fourth plus the octave in an inverted form.
The Chord Track does not handle two-note groupings (with or without the octave). But is that really necessary or useful?
