Power Chord and Muting Technique

When to read this: Session 9 assigns this handout. Read it after the session: the reading is not part of the session’s 50 minutes. Read “Level 1 — E5 and A5 Power Chords (From Session 9)” and “Level 2 — Palm-Muted Power Chords (From Session 9)” (about 5 minutes); the sections before them explain the two shapes and the two kinds of muting that those levels use. “The Moveable Power Chord Shape (After Session 20)” and Level 3 are for after Session 20.

What You’ll Learn

This handout teaches you how to play power chords — the backbone of rock and metal guitar — and the muting techniques that make them sound tight and professional. You will learn the E5 and A5 shapes, the moveable power chord form, palm muting, and fret-hand muting to silence unwanted strings.

Why This Matters

Power chords are your gateway to rock guitar. Songs by Nirvana and Black Sabbath — artists you will play in this course — rely heavily on power chords. Unlike open chords that ring with many notes, power chords are stripped-down and punchy: just two or three notes that produce a thick, driving sound. Combined with palm muting, they create the chugging, percussive rhythm that defines rock and metal music.

Power chords are also physically simpler than open chords — only two or three fingers needed — making them an excellent early win for beginners.

The Technique Explained

What Is a Power Chord?

A power chord uses only two notes: the root note and the fifth. Some voicings add the octave (the root note doubled one octave higher). Because they contain no third, power chords are neither major nor minor — they sound neutral and powerful, which is why they work in any context.

The E5 Shape (6th String Root)

1. The root is the open 6th string. Nothing to fret.
2. Finger 1 frets the 5th string at fret 2 (the note B).
3. E5 = 6th string open + 5th string fret 2.

E5

OXXXX

1

EADGBe

Only strum the 6th and 5th strings. An X above a string in a chord diagram means “do not play it”. This is where muting technique becomes essential.

The A5 Shape (5th String Root)

1. The root is the open 5th string. Nothing to fret.
2. Finger 1 frets the 4th string at fret 2 (the note E).
3. A5 = 5th string open + 4th string fret 2.

A5

XOXXX

1

EADGBe

Only strum the 5th and 4th strings. The 6th string must stay silent: start your strum on string 5.

The Moveable Power Chord Shape (After Session 20)

Moveable power chords are taught in Session 20. Leave this section until then. Once you know it, this is the shape you will use most often. It can be moved anywhere on the neck:

1. Finger 1 frets the root note on the 6th (or 5th) string.
2. Finger 3 frets the note 2 frets higher on the next string.
3. Optionally, finger 4 adds the octave — same fret as finger 3, one string thinner.

Example — F5 (6th string root, 1st fret):

F5

XXX

1

3

4

EADGBe

Finger 4 on the 4th string is the optional octave for a fuller sound. Move the whole shape up two frets, so that finger 1 is at fret 3, and it is G5.

To change the power chord, slide the entire shape up or down the neck, or move it across to the 5th string: then strum strings 5, 4 and 3 and keep the 6th string silent. The name comes from the root note (finger 1).

Palm Muting

Palm muting produces a thick, chunky “chug” sound. It is the signature technique of rock and metal rhythm guitar.

1. Rest the edge of your strumming-hand palm (the fleshy part below the little finger) lightly on the strings just where they cross the saddle (the thin strip on the bridge).
2. Apply just enough pressure to dampen the strings — not so much that the notes are completely dead.
3. Strum the power chord. The notes should sound tight and percussive — “chunk, chunk, chunk” — not the open ring of an unmuted chord.
4. Position is critical: On the bridge itself is too far back and mutes nothing; too far towards the soundhole kills the note. The sweet spot is just where the strings cross the saddle.

Fret-Hand Muting (String Muting)

When you play a power chord on the 6th and 5th strings, the 4th through 1st strings must not ring. You achieve this with fret-hand muting:

1. Let finger 1 lie slightly flat, so that its underside lightly touches the thinner strings next to it (strings 4 to 1 under E5) without pressing them to the fretboard. This mutes them.
2. If you accidentally strum the thinner strings, you should hear a dead “thunk” rather than a ringing note.
3. For open A5, start your strum on string 5. Finger 1 cannot reach the 6th string in this shape, so the pick has to leave that string alone. On a moveable power chord with its root on the 5th string (after Session 20), the tip of finger 1 leans lightly against the 6th string and keeps it silent.

Exercises

Level 1 — E5 and A5 Power Chords (From Session 9)

Goal: Play clean power chords with proper muting.

Chords: E5 (6th and 5th strings) and A5 (5th and 4th strings) Tempo: 70 BPM, one strum per click. After the course: up to 90 BPM, raised 5 BPM at a time. Duration: 5 minutes

Chord:  E5                  A5                  E5                  A5
e|----------------------|-------------------|-------------------|-------------------|
B|----------------------|-------------------|-------------------|-------------------|
G|----------------------|-------------------|-------------------|-------------------|
D|----------------------|---2---2---2---2---|-------------------|---2---2---2---2---|
A|------2---2---2---2---|---0---0---0---0---|---2---2---2---2---|---0---0---0---0---|
E|------0---0---0---0---|-------------------|---0---0---0---0---|-------------------|
Count:  1   2   3   4       1   2   3   4       1   2   3   4       1   2   3   4
Strum:  D   D   D   D       D   D   D   D       D   D   D   D       D   D   D   D

A string line with only hyphens on it is not played.

1. Play E5: strum only the 6th and 5th strings with downstrokes, 4 beats per measure.
2. Switch to A5: strum only the 5th and 4th strings, 4 beats.
3. Alternate for 8 measures.
4. After each strum, listen: do any unwanted strings ring? If yes, adjust your muting.

What it should feel like: The fretting hand uses minimal pressure — just enough to sound the two notes cleanly. Your picking hand targets only the correct two strings. Finger 1 lies slightly flat to mute strings you are not playing. If using an open string as root, only finger 1 is fretting.

What it should sound like: Two notes — thick, focused, punchy. No ringing from other strings. The sound should be “tight” — not washy or open like a full chord. If you hear extra strings ringing, your muting needs adjustment.

Level 2 — Palm-Muted Power Chords (From Session 9)

Goal: Add palm muting for the classic rock chug sound.

Chord: E5 Tempo: Start at 60 BPM, one strum per click, all downstrokes, and raise it 5 BPM at a time to 70 BPM. The course target for palm-muted power chords is the eighth-note form of this, two strums per click, down-up, at 70 BPM (Session 9, “Power Chords with Palm Muting”). After the course: up to 100 BPM. Duration: 5 minutes

Chord:  E5
e|----------------------|-------------------|
B|----------------------|-------------------|
G|----------------------|-------------------|
D|----------------------|-------------------|
A|------2---2---2---2---|---2---2---2---2---|
E|------0---0---0---0---|---0---0---0---0---|
Count:  1   2   3   4       1   2   3   4
Strum:  D   D   D   D       D   D   D   D
PM:     PM  PM  PM  PM      PM  PM  PM  PM

PM = palm muted. O = let the string ring (palm lifted).

1. Rest the edge of your strumming-hand palm lightly on the strings just where they cross the saddle.
2. Strum E5 with downstrokes. You should hear “chunk, chunk, chunk” — tight, percussive hits.
3. Experiment with palm pressure: lighter muting lets more sustain through (good for verses). Heavier muting produces shorter, more percussive hits (good for fast riffs).
4. Now try alternating: 2 measures palm muted, 2 measures un-muted (lift your palm), 2 measures palm muted, 2 measures un-muted. The TAB below shows the first 4 measures: play them twice. This creates the dynamic contrast heard in songs like “Smells Like Teen Spirit.”

Chord:  E5
e|----------------------|-------------------|
B|----------------------|-------------------|
G|----------------------|-------------------|
D|----------------------|-------------------|
A|------2---2---2---2---|---2---2---2---2---|
E|------0---0---0---0---|---0---0---0---0---|
Count:  1   2   3   4       1   2   3   4
Strum:  D   D   D   D       D   D   D   D
PM:     PM  PM  PM  PM      PM  PM  PM  PM

Chord:  E5
e|----------------------|-------------------|
B|----------------------|-------------------|
G|----------------------|-------------------|
D|----------------------|-------------------|
A|------2---2---2---2---|---2---2---2---2---|
E|------0---0---0---0---|---0---0---0---0---|
Count:  1   2   3   4       1   2   3   4
Strum:  D   D   D   D       D   D   D   D
PM:     O   O   O   O       O   O   O   O

What it should feel like: Your strumming hand rests gently on the strings where they cross the saddle. Your hand has a resting point now, so the strum is smaller, but your wrist stays loose. It should feel stable, not strained. The palm pressure is light — you are dampening the strings, not pressing them down.

What it should sound like: A “chug” sound — tight, percussive, with pitch but very short sustain. When you lift the palm for the un-muted hits, the contrast should be dramatic — the chord suddenly rings out. This contrast is one of the most powerful tools in rock guitar.

Level 3 — Moveable Power Chords and the “Iron Man” Riff (after Session 20)

Moveable power chords are taught in Session 20. Leave this level until then.

Goal: play the Session 9 riff as power chords by sliding one shape along strings 5 and 4.

Credits: Written by Tony Iommi, Ozzy Osbourne, Geezer Butler and Bill Ward. Recorded by Black Sabbath on Paranoid (1970).

Shapes (finger 1 on string 5, finger 3 on string 4 two frets higher): B5 = frets 2 and 4; D5 = frets 5 and 7; E5 = frets 7 and 9; G5 = frets 10 and 12.

Tempo: start at 50 BPM, target 70 BPM (the recording is about 70 to 76 BPM according to one transcription; that figure is not confirmed). The click is one beat (a quarter note).

"Iron Man" — Main Riff, Power-Chord Form (Simplified; after Session 20)

Chord:  B5      D5      D5  E5  E5          G5      G5  D5  D5  E5  E5
e|--------------------------------------|-----------------------------------|
B|--------------------------------------|-----------------------------------|
G|--------------------------------------|-----------------------------------|
D|------4-------7-------7---9---9-------|---12------12--7---7---9---9-------|
A|------2-------5-------5---7---7-------|---10------10--5---5---7---7-------|
E|--------------------------------------|-----------------------------------|
Count:  1       2       3   &   4           1       2   &   3   &   4

Same notes and same rhythm as the Session 9 riff, with the fifth added above each note. Simplified: the record plays a quick G5, F#5, G5, F#5 on beat 1 of measure 2. Not yet play-tested. Use downstrokes and move the whole hand between chords.

Strum strings 5 and 4 only. The tip of finger 1 leans lightly against the 6th string and keeps it silent.

What it should feel like: Moving the power chord shape along the neck should feel like sliding a template along a track. The hand shape stays the same — only the position changes. Move your whole hand along the neck, thumb travelling with it. This is a shift, not a stretch.

What it should sound like: Both notes of every chord sound, no other string rings, and every chord lands on its count. If you hear squeaking as you move between positions: ease the pressure, keep your fingertips just touching the strings as a guide, move, then press again.

Common Mistakes

1. Strumming too many strings. Power chords use only 2-3 strings. If you strum all 6, the extra strings create a muddy mess. Use fret-hand muting on unused strings and focus your strum width.
2. Palm muting too far towards the soundhole. If your palm rests in the middle of the string length, the notes are completely dead. Move your hand back until the edge of your palm is just where the strings cross the saddle and you hear pitch with short sustain.
3. Pressing too hard with the fretting hand. Power chords require minimal pressure — just enough for two notes to sound. Beginners often press hard because the shapes feel unfamiliar. Use the Lightest Touch method from Fretting And Hand Position.
4. Not muting unused strings. If you play E5 and the 4th, 3rd, 2nd, and 1st strings ring sympathetically, your performance sounds washy. Lay finger 1 slightly flat to mute adjacent strings.
5. Ignoring the noise when you move the shape. When you move a power chord along the neck (after Session 20), fingers dragged along steel strings under pressure squeak. Ease the pressure, keep your fingertips just touching the strings as a guide, move, then press again.
6. Over-muting with the palm. If your palm muting kills the notes entirely (no pitch, just a “thud”), you are pressing too hard or your palm is too far towards the soundhole. Back off the pressure until pitch returns.

Injury Prevention

• Palm muting holds your strumming wrist in one position. Your wrist is bent back slightly so that the edge of your palm can rest on the strings where they cross the saddle. Keep the wrist close to straight, and do not hold this position for more than 5 minutes at a time without a break. Pain rule: tender fingertips are normal. Pain in the wrist, forearm, thumb joint or knuckles, numbness or tingling, any sharp pain, or pain that lasts into the next day means stop. The full rule is in START HERE.
• Alternate between palm-muted and un-muted playing. Constant palm muting for 10+ minutes can cause fatigue in the wrist and forearm. Mix in open chord playing or picking exercises to give the palm-muting muscles a rest.
• Fretting hand: In a moveable power chord (after Session 20), finger 1 frets the root and only leans on the strings it keeps silent. Your thumb rests lightly on the back of the neck. It steadies the hand. It does not press. If your thumb cramps, you are pressing with it: stop for today, and next time use less pressure.
• Steel-string muting: The Saga SF-600C-BK’s steel strings have higher tension than nylon strings, which means palm muting requires slightly more pressure to dampen them. Start with short palm-muting sessions (3-4 minutes) and build up gradually.
• Move between positions with the pressure eased. Dragging your fingertips along steel strings while pressing hard can rub them raw. Ease the pressure, keep your fingertips just touching the strings as a guide, move, then press again.

Equipment Notes

• Bridge saddle on the Saga SF-600C-BK: The saddle (the white or bone-coloured strip at the bridge where the strings cross) is your landmark for palm muting. The Saga has a standard acoustic saddle. Rest the edge of your palm lightly on the strings just where they cross the saddle. On the bridge itself is too far back and mutes nothing; too far towards the soundhole kills the note.
• The cutaway: The Saga’s cutaway body lets your fretting hand reach frets 12-15 without the body blocking your thumb, which a standard dreadnought would not. Nothing in this handout goes above fret 12.
• Pick thickness for power chords: Your medium pick (0.71 to 0.88 mm) works; a heavier pick (up to 1.0 mm) gives a thicker, punchier power chord. Thin picks flex too much on downstrokes and produce a weaker attack.
• String gauge and palm muting: Heavier strings respond better to palm muting — they have more mass and produce a deeper “chug.” Light-gauge strings (.012-.053, what most new steel-string acoustics carry) work well for power chords. If you switched to custom-light or extra-light strings for easier fretting, palm muting may sound slightly thinner, but it will still work.