Ok. So we all know power chords are usually 1 - 5 - 8, 1 - b5 - 8, or even 1 - 4 - 8,

But there are many scales which aren't as convienient as one would want then to be.

Just wondering how strict you guys are with the power chords...?

Or is it just the root note you guys need, rest can be outta the scale...


I understand most metal bands don't even bother with scales, but I like to.

So how strict are you guys with the chords????

Actually you're wrong when it comes to most metal bands. Obviously depending on what you're listening to. Almost everyband i listen to often plays the SAME scales for most of their songs on any given cd.

But anyways, as far as i go. I worry less about the actual notes inside the chord as i am with the basic use of chord progressing theory.

By that i mean, i often bank off of the use of half steps and full steps in order to produce the mood or feeling i'm trying to produce in the riff, song, or whatever. So in short, i mostly worry about the root note in my mind, but i don't completely forget the scale i'm playing in when i tailor it to my song.

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Alexi Laiho plays 95% of his stuff out of the Aeolian.

I play alot of power chords and I'll throw in diads as well to add color a power chord doesn't. I tend to play alot out of the Aeolian as well.

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I've noticed this as well, I wish he would use different scales, because just about every one of his solos sound the same.

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Where are my beloved replies?

No more about Alexi, haha. He's gay.

like 95% of all metal is played in Aeolian. except prog.

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Dorian works alright from time to time, or even though this sounds jerking off to Bach. . . . like. . . . the Phrygian position of harmonic minor. . ..

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Yeah... But this is about power chord 5th notes:P

Anyone know any scales that are great for powerchords in the scale? Except for Chrimatic / 12 tone that is.

Any mode/scale would be except the Locrian or any other scale with a flattened 5th.

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That seems to be very common in progressive stuff, though they like to throw in a flat 5 (or a sharp 4, however you want to look at it) to spice it up more sometimes. Just think Symphony X.

Melodic minor (and its modes) is good for diatonic powerchords and diatonic thirds because the 2, 4, b6, and 7 are all minor thirds apart from each other (well you know what I mean, all separated by 3 semitones) so you can play around with the diminished aspects of the scale and use tritones for some notes without actually deviating from the scale.

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