Evil Chords and Scales
It’s Halloween! What better way of celebrating this holiday than learning some evil chords and scales. In this lesson we unlock some sonic displacement that is sure to release your inner demon.
Happy Halloween! What better way of celebrating the holiday with a look at a couple of evil chords and scales that’ll release the inner demon in you.
What makes an evil chord or scale sound that way in the first place? A lot of it has to do with context. Depending on where you play a chord, what note the bass is playing and with what sound can play a huge role on the overall sound.
You will find that chords and scales that sound “evil” usually involve intervals that created a bit of tension. Sounds that are not as familiar to you will often inspire this. For example you have probably never felt like writing the soundtrack to a horror flick while playing the major scale but the harmonic minor definitely gets up there.
Evil Chords and scales: E(b5)
The first chord we have here is one of my favourites. The E(b5) is basically a power chord with the 5th flattened by a semi-tone. This one movement gives you a tri-tone interval in the chord that is great for creating dissonance. A favourite type of progression for this chord is to alternate between itself and the E5. The resolution of the flattened 5th on every other chord emphasises the b5 tri-tone. To really get this chord (and progression) sounding really evil, put a generous amount of gain on try alternating between big sustaining strums and staccato chugging.
Evil Chords and scales: F Maj7#11
The second shape here is the F Maj7#11. On this chord you would probably want to lighten up on the gain and get a cleaner tone. This will emphasize the #11 (B) once again getting that tri-tone interval between the tonic and the #4/b5.
Evil Chords and scales: A minor
A minor is one that you probably wouldn’t expect to sound overly evil. To me this chord is more ‘sad’ than it is evil, but it definitely holds some of the darker elements that can be exploited in a chord progression. This is where context takes over. Experiment with other chords preceding and following it. You can also try using other bass notes against the A minor. For example playing an A minor with the E in the bass or a C.
Evil Chords and scales: Em+9
The next chord in our evil sounding chords exploration is the Em+9. On its own this chord really creates a mood that’s similar to the A minor. It compels feelings of sadness that can really be exploited to achieve a very dark sound. For example using this chord as a substitute for the E5 power chord we used earlier with the E(b5). A good example of using this chord to create a dark sounding chord progression is Steve Vai’s for the love of god. The first two chords alternate between the Em+9 and the Fmaj7#11.
Evil Chords and scales: Semi-tone approach
Our final chord is more of an approach rather than an actual chord shape. The chord we will mess with is a basic power chord. To add a darker element to your chord progressions you can simply approach your power-chord chord change from a semi-tone above. For example if the chord you should play is an E5, you could precede it with an F5. Rhythmically you can do whatever you like however you will find that the effect is emphasised more if your changes are rhythmically faster rather than slower.
With some simple ideas for chords covered, lets have a look at a couple of scales that can help you achieve a dark and evil sounding piece of music.
Evil Chords and scales: Harmonic Minor Scale
The harmonic minor scale is one I can’t do without when trying to achieve harmonic evilness. The raised 7th or a Tone ½ step between the 6th and 7th notes causes a break in what you’re used to hearing with the natural minor scale. Using to improvise over a straight power chord can really make the darkness pop. Remember to use your ear when using this scale to improvise. The note combinations can quite easily push you into an eastern sounding realm rather than float around an evil sounding combination of notes.
Evil Chords and scales: Phrygian Dominant Scale
Our second scale is the Phrygian Dominant scale. This is the 5th mode of the harmonic minor scale and consists of the b2, b6 and b7 when compared against the major. The combination of the b6 and b7 suggests the minor however with the major 3rd and b2nd in the scale, the Phrygian dominant leaves you a lot of room to really explore some dark areas in your improvisational technique.
It’s important to realize that when you are using scales to created a darker atmosphere in your music that you need to play to the chord tones behind the scale. You can get away with a little ad lib here however repeated dissonance in the scale verses the underlying chord can also counter the effect you are trying to achieve. Keep the chords simple like power chords rather than complex harmony structures. Or adjust your scales accordingly if you need that sound in the harmony.
This article touches on concepts from the LICK FACTORY’s Set 1 and Set 2 courses. Bring your chord playing up to a completely new level.
Need a quicker fix? the ULTIMATE CHORD GUIDE: Volume 1 might be the answer.
Who’s your Teacher?
Kris Petersen is a name that has become synonymous with the Australian Music Industry. From clubs to stadiums, Kris has performed on every continent in the world and shared the stage with some of the world’s greatest artists.
In the last few years alone, Kris has performed with, or alongside Alice Cooper, Aerosmith, Orianthi, Van Halen, Billy Joel, Matt Sorumn (Guns n Roses), Eric Martin (Mr. Big), The Drifters, Tony MacAlpine, Buckcherry, Daryl Braithwaite, The Living End, Icehouse, Marcia Hines, The Screaming Jets, The Choirboys, Mental As Anything, Bruce Kulick (KISS), Leo Sayer, Pretty Boy Floyd and many more… read more
