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What to play over power chords?

P

Porx

Nov 10, 2009
5
0
Bjelovar, Croatia
www.myspace.com
#1
I've been playing in a punk-ish metal band for a few years now, and the the songs we're playing are playing are mostly based on power chords. I'm getting a little sick of playing the root and adding a little 5th. But I'm not really sure what else to do... I've tried to play arpeggios of 7th chords in one song, and it sounds ok, and some rhythmic variations on others. But I don't want everything to sound the same or follow any patterns. I don't want to overdo it, but i think it would sound much better if I added a little flavor to it. Does anyone have any advice?
:help:
 
#5
I started to think of myself as the guy responsible for the chord that's coming, instead of the one we're on. As a result I'm playing a lot more interesting stuff, and not all the time either.

I'll listen to the entire progression as it loops. I'll figure out where the climax is, the low points, whatever, and then I'll fiddle with what works by ear, Ignoring the supposed key. I don't mean play stuff that sounds bad, but for me when I say oh, we're playing in A major, I play the pentatonic scale in a really uncreative way.

So pass notes along for the next power chord. If it's a fast progression, pick one or two changes that could use something extra and hit a note in between.

Before you know your mates will be stealing your lines for little guitar licks. Happens to me all the time. Whatever, for the better of the band.
 
#9
learn a little about theory and diatonic chords and stuff. it will let you know musically what notes will sound good. if you dont like playing root fifth a few people suggested playing root third and that sounds sweet. try like a root min third, or even octaves should help you "spice" things up a little



jk
 
#12
IU'll be the arbitary Rush fan and say this: Give the song "Circumstances" by Rush a listen, there's some fantastic filling work on that. He really puts a heavy, pulsating and quick rhythm over the chordal guitar work of Alex Lifeson.

Also, listen to anything Paul McCartney. Whenever you're in a rut, check some melodic, walking stuff a try. It'll change your perspective.
 
#13
All good suggestions here. Maybe steal a page from the jazz playbook and do some of what Basskababble said, hit appropriate leading tones just before a chord change, or a quick run that anticipates a cord change. If the rhythm is mostly 8th note groove, then two possibilities to interestify your lines: play the minor 7 (whole tone below the root) in the same spot each measure. Dee Dee Ramone would do it on the one and five and it worked for them. Other possibility, shift away from the root four beats before a chord change (Vibrators style). But basically, root is where the money is, regardless of the genre. Remember, you're there to support the chords and rhythm. Anything that you do that doesn't add, takes away. Have fun!
 
#14
Studying some music theory/mechanics (unless you already have a background), and even some jazz would really help you out. Walking a bass line involves getting from one chord to the next in an effective, interesting manner...honestly your situation isn't much different. My studying jazz helped my playing in genres across the board, from funk to metal.
 
#15
Defiantely keep with trying out the chord tones. You could work out some counter melody lines too with a few of the tunes. Then there is the use of approach notes to the next chord. You could consider the chord of the moment, what works with that and then how those notes can help you connect to the next chord. A good way to approach your next root is by 1/2 step above or below your target note, whole step above or below the target, double chromatic above or below and also using the 5th of your target note.
 
#16
BassMan99 said:
I learn some Paul McCartney bass lines. Seriously. Learn some of the scale licks paul plays. These are a great addition to your bass vocabulary.
Click to expand...

+1 on this. McCartney has a way of moving a bass line that just seems to add something to the music. It moves, but it's not too busy. Even if it doesn't work for your particular song, knowing some McCartney bass lines is a good thing.

We do a Ramones medley, and basically I just thump on the root. But it works for that music. Don't over-complicate music that was meant to be played simple. The punk rockers love that simple stuff. Just play it with passion.

We used to play "Mother" by Danzig http://www.youtube.com/watch?v=5RPrj0bp0NA&ob=av2e. On that song, the lead and rhythm guitar are hitting power chords and moving around on a pattern. The bass, however, just sits there thumping on the pedal note (we played it in D) while the guitarists are moving around. That adds some interesting tension to the song to hear the bass sitting down there while everything moves around that one bass pedal note. Then, when I joined the guitars towards the chorus and hit the root of their power chords with them, it broke the tension and the song really rocked out. OK, not the most interesting bass line I have ever played, but it served the song. In that case, less was definitely more.

Another good example of that idea is the main bass riff for "Jump" by Van Halen http://www.youtube.com/watch?v=k8LdRJqjjRM. Michael sits there forever pounding out the C note with Ed on the keyboard hammering out his chords. Again, simple bass line, but effective for the song.

Recently, we added "Last Nite" by The Strokes http://www.youtube.com/watch?v=f1vvUec71v8 to our set list. I really like that song because it's the bass that plays the "melody" line while the guitars are holding down a steady beat strumming out simple chords. That's just the opposite of most songs we play where I hit the pocket with the drummer and let the guitarists stand out. Don't know if you could force a bass melody line in your music, but it works on Last Nite.

Anyway, I'm signing on to this thread to see what some of the other guys suggest. I'm often in your exact situation and wonder what would work best on bass when the guitars are hammering out on power chords.
 
#17
I think everyone has come up with some excellent ideas so far! But what first popped in my head was... maybe it's not so much the choice of notes but their duration. Like I remember Wooten saying "it's between the notes that matters", or something to that degree. Just hammer out a bunch of ideas playing with the duration.
 
#19
You can't really go wrong with root, fifth, root. I agree with the above. Play what the song needs. If it needs more, start experimenting. In punk with power chords, I'd recommend messing with the rhythm first. It's way to easy to overdo it on the notes. I'd recommend starting with the rests. If you dont breath, you cant say very much. The same goes for playing lines.
 
#20
maybe there's something lacking with the song itself?

metal and punk tend to lock on the root or the main riff of the song, so i guess other than writing interesting riffs you could play without getting bored, there really arent that many options as far as notes are concerned (too many notes take away the feel of the song).

or maybe you could play parts differently... like thump it, palm mute it, etc.
 

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