• Corpus ID: 204809866

Dealing with the 3rd: Anatomy of distorted chords and subsequent compositional features in classic heavy metal

@inproceedings{Lilja2015DealingWT,
  title={Dealing with the 3rd: Anatomy of distorted chords and subsequent compositional features in classic heavy metal},
  author={Esa Lilja},
  year={2015}
}

• E. Lilja
• Published 2015
• Physics

Because of the use of guitar distortion, chords used in heavy metal are much more complex than the fingered guitar positions would indicate. Due to harmonic partials generated by distortion most chords have a major quality. However, heavy metal is mostly constructed on minor modes regarding the scalar construction. This creates an apparent modal dichotomy between the vertical and the horizontal harmonic construction. This article discusses acoustic characteristics of distorted guitar chords and a variety of compositional strategies that have been used in dealing with the major and minor thirds in “proto” and “classic” heavy metal (ca. 1965-1985). Acoustics of distorted chords The sound of distorted guitar is much more complex than one would expect on the basis of typical positions played on the guitar. Nonlinear distortion generates harmonic and intermodulation frequency components (e.g. Dutilleux & Zölzer 2002; Bloch 1953; Rossing 1990: 447-448), i.e. distortion amplifies harmonic overtones and creates combination tones.