Are these power chords ?

[2nowman]

Hi,

I'm starting to learn the keyboard and music theory but I'm struggling a little bit and wonder if anyone can advise, I've been playing the following chord sequence:

F3, F4, C5
D4, D5, F5
C4, C5, E5
F3, F4, A4

I've got no idea on the theory behind this but that sequence just sounds nice to me, and I thought it would be a good to try and learn why I like it, but after some research I can't seem to find out what key it's in or why it works.

From playing the guitar I think these must be power chords due to each chord only having two notes but I'm not sure, can anyone help me identify what key this is in please ? or how you would go about finding that out.

Thanks and any help is much appreciated

[No_Use]

Hi,

power chords (as I know them in a guitar rock etc. context) are just root + (pure) fifth (= seven semitones above root) .
So in the first chord we have F4, seven semitones up lands on C5 (F#/Gb, G, G#/Ab, A, A#/Bb ,B, C). So the first chord could be called powerchord with an octaved down doubled root (F3).

The other chords however contain a third:
D5, F5 = minor third
C5, E5 = major third
F4, A4 = major third

so I wouldn't call these powerchords.

Key I'll leave to someone else to answer.

[BertKoor]

Indeed, only the first has no (major/minor) third interval, so that leaves only the first chord being a power chord (only root + 5th)

Key? Starts with and ends with F. Not that that is the rule of thumb, but I just feel that's where 'home' is.

Why it works?

Code: Select all

| F  Dm | C  F |

In roman numeral notation it's I vi V I. Not too complex, resolves rather nicely. Jancivil could probably give you a lecture on the why but that would totally go over your and my head, using terms that to us have no meaning.

[Vurniks]

Power chords do not exist. "Power" intervals do, sort off. Actually, no, they don't exist either.

[BertKoor]

Power chords do not exist.

Really? Do a reality check:

Power chord
Not to be confused with Power cord.

But I see at what side you are:

Terminology
Theorists are divided on whether a power chord can be considered a chord in the traditional sense, with some requiring a 'chord' to contain a minimum of three degrees of the scale. When the same interval is found in traditional and classical music, it would not usually be called a "chord", and may be considered a dyad (separated by an interval). However, the term is accepted as a pop and rock music term, most strongly associated with the overdriven electric guitar styles of hard rock, heavy metal, punk rock, and similar genres. The use of the term "power chord" has, to some extent, spilled over into the vocabulary of other instrumentalists, such as keyboard and synthesizer players.
Power chords are most commonly notated 5 or (no 3). For example, "C5" or "C(no 3)" refer to playing the root (C) and fifth (G). These can be inverted, so that the G is played below the C (making an interval of a fourth). They can also be played with octave doublings of the root or fifth note, which makes a sound that is subjectively higher pitched with less power in the low frequencies, but still retains the character of a power chord.
Another notation is ind, designating the chord as 'indeterminate'. This refers to the fact that a power chord is neither major nor minor, as there is no third present. This gives the power chord a chameleon-like property; if played where a major chord might be expected, it can sound like a major chord, but when played where a minor chord might be expected, it sounds minor.

If the OP had just checked this, the answer is right there.

[NAD]

F3, F4, C5
D4, D5, F5
C4, C5, E5
F3, F4, A4

Note that these all have the bass note doubled one octave down, so you can ignore the first note and look at these as pairs of notes. Technically these are intervals rather than chords because traditionally chords have three or more distinct notes, but we don't have be too pedantic about it. So:

F4, C5 - This interval is fifth so yes, it's a powerchord. The melody may or may not imply a major or minor quality.
D5, F5 - This is a minor third which suggests a D minor chord but it depends on context so not necessarily.
C5, E5 - This is a major third so it (possibly) suggests a C major chord.
F4, A4 - This is also a major third so it suggests an F major chord (again, depending on context).

[PANwiktorTM]

To check any chord the simplest method i learned is just to use half tones and counting using piano
Major and Minor Intervals

1 half-step = minor second (m2)

2 half-steps = major second (M2)

3 half-steps = minor third (m3)

4 half-steps = major third (M3)

8 half-steps = minor sixth (m6)

9 half-steps = major sixth (M6)

10 half-steps = minor seventh (m7)

11 half-steps = major seventh (M7)

Powerchord is basically Octave and Fifth

[jancivil]

Why does V-I 'resolve nicely'? I doubt what I'll say is above anybody's head that can read it.
It's the strongest root movement, rising 4th/falling fifth, something everybody in much if not most of the world has realized in every form of music that would have chords. It meant what it means before there were chords. If you do V-I over and over, even just the root, it's so strong (or so stupid*) it can get overbearing pretty quick. In the "classical music" where it's everpresent you pick your spots for it, driving a point home. (*: loss of impact)

There's something I couldn't say much about with a 5 to a 1 relationship where 1 is stable, home.
I was paying attention to some movie score business last night. There was this long pedal tone (a single note not moving), hammered at with a steady beat. It created a quality of tension, not terribly strong tension but it gets palpable.
Even though there are no chords, there is no leading tone or harmonic tensions happening, there's something making us feel anticipation. I realized the composer had created a definite sense of 1 somewhere and this pedal tone was its 5.

who knows how much of this is psychological conditioning

[eLawnMust]

Nope, 'Power Chords' are a misnomer... Some guitar 'player' was probably asked by a bassist "What are you playing there?"... " Uhhhh, I dunno....Uhhh, I gotta D on bottom, an A & looks like another D ontop, sounds kinda mean & forceful... Uhhhh, POWERFUL!... Yeah Man!, Trippin'!... it's a Power Chord!"

And somehow just like circumcision in the move 'Year One' it caught on... Folks, a chord needs 3 distinct differentiated tones to be a chord, period... Stacking octave notes does not apply & sourcing wiki-shitia is a great way to star in 'Idiocracy 2 - Overload'...

Been in many bands in the 70's & 80's that went nowhere as a bassist & I can tell you many guitarists love that lazy 2-3 note hit but never more than 2 distinct tones... Now if ground zero dude had simply named it 'Power Slam' we would be in a much better place right now...