From Bach to Rock: Using Diatonic Power Chords and Inverted Borrowed Chords to Create More Musical Riffs



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This sort of thing is perfect for neo-classical and power metal.



I don't mean to sound pedantic but i've spotted a glaring error in the theory side of this article.I'm referring to where the diatonic chords of A minor are outlined.The key of A minor(and it's relative major-C)
contain the notes A-B-C-D-E-F-G and so all chords must contain these notes.This makes the fifth chord in the key of A minor(and the third in C major)an E minor chord(E,G,B)and not a E major chord(E,G#,B)as the inclusion of the G# in the E major deviates from the key.
It could function as part of an A harmonic minor,which you do say you'll be using as part of the lesson but as it is written,it could be misleading.
Just sayin'...



You're specifically referring to "A natural minor" or the Aeolian mode. The concept of A minor actually includes natural, harmonic and melodic minor.

The inclusion of G# in the key of A minor actually serves to strengthen the key by creating the leading tone that is missing from A natural minor (and which is present in every major scale). It strengthens the key by creating E7 which is more dissonant than Em, thereby creating a more satisfying resolution to A minor. That's why it's used there. In other words, using the F# or the G# in A minor doesn't prevent its "minorness".

In other words, it's a slight omission that could have been more specific, not a glaring error, just like you omit that you're actually talking about A natural minor.



Don't toss out that power chord line. Use that parallel motion of fifths in a bridge to intentionally give it an out-feel against swept Am arpeggios. Get your bass player to do the same and it can be a sledgehammer. "It's wrong so play it twice."

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