Advanced Rock Rhythms 1: Inverting Powerchords

    In this lesson we’ll be applying the principles of chord inversion to a rock situation. As you should know already, it’s unlikely that you’ll be playing open chords or anything much bigger than powerchords when using a heavily distorted guitar sound. This doesn’t mean that we have to forget about notes other than Roots and 5ths, it just means that we have to be a little more creative in their application.

    If you’re not familiar with the concept of a powerchord you’ll want to do something about that pretty quickly… Be warned, if you can’t remember what a powerchord is, you probably shouldn’t be here just yet.

Now, we know that powerchords are prevalent in pop, rock, blues and metal, but what happens when you flip those chords around? We’ll look at this idea in 2 different ways. First off, let’s take our basic power chord rhythm.

Now were going to take the root note and stick it above the 5th. Because you’ll now be using your first and second fingers to play these notes, you should find it easier to apply a little vibrato to them as well. Remember, the notes you are using haven’t changed it’s just their order.


These kind of inverted powerchord double-stop things can be pretty nifty in-between the regular powerchords to add a little variation, or they could be played by a lead guitar to add a bit more depth and character to what the rhythm guitar is doing. Try playing some of your own riffs using these double-stops instead of powerchords.

The last thing I’m going to leave you with in this lesson is a personal favourite of mine. It can have a pretty massive effect on the sound of a chord, but the theory behind it is nothing revolutionary, (and doesn’t get much more complex than what you’ve already learnt today). We’re only able to apply this to powerchords rooted on the A string, (or higher, but you’ll have to work those out for yourselves). We’ll go back to the first bar of today’s exercises but this time we’re adding an additional 5th below the root. The bar after that is what happens if you want to play an additional 8ve of the root note. They would be played like this:

Have fun with those, I’m especially fond of them because they can make anything sound instantly really heavy, (in my opinion much heavier than down-tuning alone will allow).

Chord Inversions 1 – Intro

Remember back when your teacher, (possibly me), told you that the deepest pitch in a chord should be its root note? Yeah, that was a lie. Sorry.

            It’s a good general rule though, because we like to hear root notes in the bass of a chord. Using other notes in the bass can have a dramatic effect on a chord’s overall sound, and we refer to these chords as Inversions. THIS VIDEO at around the 28min mark gives a great example of how using inversions can sound like entirely “new chords, a kind of optical illusion in sound”, (don’t watch all the video, the rest isn’t that relevant… I just like that quote).
In this lesson we’re going to work with open chords, and simply add or subtract strings and see what that does to the chord. But first off we need to cover some theory basics. It’s easy enough to remember that Inversions are just an interesting was of voicing a chord. It’s a little trickier to remember the different names for each inversion, which depend on which Chord Tone is being put in the bass. They are as follows…

  • We refer to chords that use the root note in the bass as the Root Position.
  • Chords using the 3rd in the bass are referred to as being the First Inversion.
  • Using the 5th in the bass is known as the Second Inversion.
  • Using the 7th in the bass is called the Third Inversion, (we won’t be using 7ths today).

            Be aware that the precise order of the other notes really doesn’t matter, provided the entire triad is being used in there somewhere.
The most common, and certainly the easiest way of writing these is as Slash Chords. However, these give no obvious information as to which Chord Tone is being used, so you won’t necessarily know which Inversion it is right away, (unless you happen to know all the notes in all the chords… In which case, why are you here?) I’ll give you that information as well in this lesson.

Let’s play some music.

I’ll walk you through what happens to an open E chord when we remove strings, and the chart below will show what happens when we do the same to other chords.
Start by playing an open E Major chord. Nice. Now, we’re going to not play that low E string. Although we’re voicing the E Major triad, it happens that the lowest pitch isn’t the root note any more. The lowest pitch is now a B which, as you should know, is the 5th in this chord. So, this chord is the 2nd Inversion of E, (which can also be called an E/B chord). Removing the A string makes this chord an E again, because the note played on the D string is the root note, E. Removing this D string will put the G# into the bass, which is the Maj 3rd in this chord. That gives us the 1st Inversion of E.
In the chart below I’ve used this same process with the other common open chords.


            Chords can get similarly interesting when we add open strings that weren’t previously there. For instance, if you play an open A chord, but include the low E string you get an A/E chord, (2nd Inversion). Similarly, playing a D chord and including the open A string gives you D/A, (2nd Inversion).

            In the next Inversions lesson we’ll talk about some practical uses for what we’ve just covered. After that we’ll move onto the 3rd inversion, which involves 7 chords. For now try to get more comfortable with the theory you’ve just been introduced to, and play around with the chords in the chart above.

(THIS VIDEO is certainly worth a watch if you’d like to reinforce what you learn from my site today)