Drop D et Powerchords inversé/renversé

@Ghilou :
Donc du coup, si on ne vois jamais de ces accords renversés dans les morceaux, c'est parce que combiné à la saturation ca a tendance à mal sonner ?

When two or more notes are played through a distortion process which non-linearly transforms the audio signal, additional harmonics are generated at the sums and differences of the frequencies of the harmonics of those notes.

When a normal chord (for example, a major or minor chord) consisting of three or more different degrees of the scale is played through distortion, the number of different frequencies generated, and the complex ratios between them, can cause the resulting sound to be messy and indistinct.

However, in a power chord, the ratio between the frequencies of the root and fifth is simply 3:2 (see interval) . When played through distortion, this leads to the production of harmonics closely related in frequency to the original two notes, producing a more coherent sound. Additionally, the spectrum of the sound is expanded in both directions, producing a richer, more subjectively 'powerful' sound than the undistorted signal. With large amounts of distortion, the fundamental can appear to be an octave lower than the root note of the chord played without distortion, again giving a more bassy and powerful sound.
Even when played without distortion, the simple ratios between the harmonics in the notes of a power chord can give a stark and powerful sound.

Power chords also have the added advantage of being relatively easy to play (see "Fingering" below), allowing fast chord changes and easy incorporation into melodies and riffs.