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

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Fizz

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'...

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DTS.1436

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.

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ardiril

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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