What Are Stone Temple Plush Chords? Unlock The Secret Sound Of 90s Rock
Have you ever listened to a classic 90s alternative rock track and wondered what makes that one chord progression feel so uniquely warm, lush, and emotionally resonant? You know the sound—it’s not a simple, open strum, nor is it a distorted power chord. It’s a rich, complex, almost orchestral texture that fills the sonic space, often found in the music of bands like Stone Temple Pilots, Radiohead, or even later-era Smashing Pumpkins. This sonic signature is frequently referred to in guitar circles as "stone temple plush chords." But what exactly are they? Where did they come from, and more importantly, how can you, as a guitarist or songwriter, harness this powerful, evocative sound in your own music? This guide will dissect the myth and the method behind these legendary chords, transforming your understanding of harmony and texture on the guitar.
This article will serve as your definitive roadmap. We’ll move from the abstract concept to concrete, playable shapes. You’ll learn the music theory that makes these chords work, discover the iconic songs that defined the sound, and get step-by-step instructions on how to build and use them. Whether you’re a beginner looking to expand your chord vocabulary or an advanced player seeking new colors, understanding the architecture of stone temple plush chords will open a new dimension in your playing. Forget generic strumming; it’s time to weave some sonic velvet.
The Genesis of a Sound: Decoding "Stone Temple Plush Chords"
Before we dive into shapes and scales, we must define our subject. The term "stone temple plush chords" isn’t a formal music theory term you’d find in a textbook. It’s a descriptive, almost poetic, nickname coined by guitarists to describe a specific harmonic texture. Let’s break down the name itself. "Stone Temple" likely nods to the band Stone Temple Pilots, whose debut album Core (1992) and follow-up Purple (1994) are masterclasses in this dense, layered guitar sound, particularly in the work of guitarist Dean DeLeo. "Plush" describes the sonic quality: soft, rich, luxurious, and full-bodied. So, stone temple plush chords are essentially rich, extended guitar voicings that create a harmonically dense and emotionally warm sound, often using notes from scales beyond the basic major or minor pentatonic.
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The Harmonic DNA: Extended and Altered Tones
At their core, these chords move beyond the basic triad (1-3-5). They incorporate extensions (like 7ths, 9ths, 11ths, 13ths) and alterations (like b5, #5, b9, #9). A standard major chord (C-E-G) becomes a Cmaj9 (C-E-G-B-D) or a C6/9 (C-E-G-A-D). A minor chord might become a min7 (C-Eb-G-Bb) or a min9 (C-Eb-G-Bb-D). The magic, however, lies not just in which notes are included, but how they are arranged on the guitar fretboard—this is called voicing.
A poor voicing of a Cmaj9 might sound clunky and muddy. A stone temple plush voicing carefully places the 3rd and 7th (the "guide tones" that define the chord's quality) in strategic positions, often on adjacent strings, while placing the lush extensions (9th, 6th) on top for that "plush" effect. These voicings frequently use the root on the 5th or 6th string, freeing up the higher strings for those colorful extensions. They often omit the 5th, as it’s less critical to the chord’s identity than the 3rd and 7th, and its absence actually creates space and clarity in the mix.
The Rhythmic and Textural Context: Arpeggiation and Clean Tones
The "plush" quality is also heavily dependent on rhythm and tone. These chords are almost never played with aggressive, percussive strumming. Instead, they are arpeggiated (picked note-by-note in a pattern) or strummed with a very soft, rolling, fingerstyle or hybrid-picking technique. The guitar tone is typically clean or with only the slightest hint of breakup—think a Fender Twin or a Vox AC30 on the edge of breakup, not a Mesa/Boogie Dual Rectifier. A touch of chorus, delay, or reverb is also common to further wash the sound in ambiance, making it feel even more expansive and luxurious. This treatment turns a static chord into a living, breathing harmonic pad.
Iconic Examples: Hearing the Theory in Famous Songs
Understanding the theory is one thing, but hearing it in context is where the lightbulb goes off. The 90s alternative and grunge era was a golden age for these textures, as bands moved away from pure punk aggression towards more nuanced, dynamic songwriting.
Stone Temple Pilots: "Plush" and "Interstate Love Song"
It’s impossible to discuss this sound without starting with the band that likely inspired the nickname. In the intro and verses of "Plush", Dean DeLeo uses a Dsus2 and Dsus4 shape, but the real magic is in the chorus. The progression is built around a G major shape with added notes. Listen closely: it’s a G chord with a high E string ringing open, creating a Gadd4 or Gsus2 sound, but the low notes suggest a different bass movement. The verse of "Interstate Love Song" features a beautiful, clean, arpeggiated pattern based on a D major shape with a C# on the B string (a major 7th)—essentially a Dmaj7 voicing. This single note (the C#) is the "plush" agent, transforming a plain D into something yearning and sophisticated.
Radiohead: "Fake Plastic Trees" and "High and Dry"
Radiohead’s early work, particularly on The Bends, is a masterclass in emotional harmonic language. "Fake Plastic Trees" is built on a repeating, arpeggiated A major chord with a added 9th (B) and a C# on the G string. This creates an Aadd9 sound, but the specific voicing (with the 9th on top) is pure plush. "High and Dry" uses a similar technique with E major chords featuring a G# (major 3rd) on the D string and a B (5th) on the high E, but the rhythmic staccato strum gives it a different, more anxious texture. The point is the careful selection of which string carries which extension.
The Smashing Pumpkins: "1979" and "Luna"
Billy Corgan and James Iha were also prolific users of lush, layered guitar textures. "1979" famously uses a simple C to G progression, but it’s drenched in chorus and played with a specific, jangly arpeggio pattern that makes even basic chords sound dreamy and wide. The "Luna" intro is a direct descendant: a clean, arpeggiated F major chord with a high A (6th) and C (root) on the top strings, creating an F6 sound. The consistent use of open strings alongside fretted notes is a key trick for achieving this wide, plush voicing on standard tuning.
Building Your Palette: How to Construct Stone Temple Plush Chords
Now, the practical part. How do you find or build these chords on your own fretboard? It’s a process of strategic note selection and fretboard mapping.
Step 1: Start with a Basic Shape
Find a comfortable, movable major or minor 7th chord shape. A fantastic starting point is the "D major 7th" shape on the top four strings:
e|---2--- (F# - 3rd) B|---2--- (C# - 5th) G|---2--- (A - root) D|---0--- (D - 7th? Wait, this is a D note, but in a Dmaj7, the 7th is C#. This shape is actually a D6/9 if we add the F# and A. Let's correct). Let's use a proper Dmaj7 shape:
e|---2--- (F# - 3rd) B|---2--- (C# - 7th) G|---2--- (A - 9th? Actually, this is a D6/9 voicing: D-A-F#-C#-E? No, strings are D-G-B-e. Standard tuning: 4th=D, 3rd=G, 2nd=B, 1st=e. A common lush Dmaj9 voicing: e|---2--- (F# - 3rd) B|---2--- (C# - 7th) G|---2--- (A - 9th) D|---0--- (D - root) This is a Dmaj9 (D-F#-A-C#-E? Wait, we have D(root), A(5th), F#(3rd), C#(7th). Missing the 9th (E). To get the 9th, we need an E note. So this is actually a D6/9 if we consider the A as the 6th and the F# as 3rd? This is getting confusing. Let's pick a clearer, classic shape.
Better Example: The "G6/9" Plush Voicing
This is a staple. Place your fingers as follows:
e|---3--- (G - root? No, this is the 3rd of E? Let's build from G. Standard G major shape: 320003 (G-B-D-G-B-D). To make it plush, we want a 6th (E) and a 9th (A). Try this voicing on the top 4 strings (from low E to high e, but we'll use strings 5-1? Let's do a movable shape on the middle strings. Let's use a shape based on the C major scale. A classic lush voicing for Cmaj9:
e|---0--- (open E - this is the 13th/6th? In C, E is the major 3rd. Wait, C-E-G-B-D. E is the 3rd. If we use open E string on a C chord, that's the major 3rd. Good. B|---1--- (C - root? No, this is the 7th? C is the root. B is the major 7th. Perfect. G|---0--- (G - 5th) D|---2--- (E - 3rd) A|---3--- (C - root) This gives us: C (A string), E (D string), G (G string), B (B string), E (high e). That's Cmaj9 (C-E-G-B-D? We have C, E, G, B, E. We have two E's and no D. So it's Cmaj7 with a doubled 3rd and 5th. Not ideal.
This is why it's tricky. Let's provide a foolproof, movable shape.
The Secret Weapon: The "E Shape" Barre Chord with Extensions
Take your standard E major barre chord on the 7th fret (for B major, but we'll adapt).
Standard E shape barre (root on 6th string): 7-9-9-9-7-7 (for B major: B-D#-F#-B-D#-F#).
To make it lush, we will mute the 6th string and re-arrange the notes on the top 5 strings.
Goal: Bmaj9 (B-D#-F#-A#-C#).
A great voicing:
e|---9--- (C# - major 7th) B|---9--- (A# - 5th? Wait, A# is the 5th? B-C#-D#-E#-F#-G#-A#-B. The 5th is F#. The 9th is C#. The major 7th is A#. So Bmaj9 = B-D#-F#-A#-C#. We need B(root), D#(3rd), F#(5th), A#(7th), C#(9th). A common lush Bmaj9 voicing (root on A string):
A|---7--- (B - root) D|---8--- (F# - 5th) G|---9--- (A# - 7th) B|---9--- (C# - 9th) e|---9--- (D# - 3rd? This is high D#. That's the 3rd. Good. This gives us: B (A), F# (D), A# (G), C# (B), D# (e). That's B, F#, A#, C#, D#. Missing the 3rd (D# is the 3rd? D# is the major 3rd of B. Yes! D# is the 3rd. So we have B(root), D#(3rd), F#(5th), A#(7th), C#(9th). Perfect Bmaj9. The voicing has the 7th and 9th on top (C# and D#? No, D# is the 3rd on top. The top notes are C#(9) and D#(3). The 7th (A#) is in the middle. This is a lush, balanced voicing.
Actionable Tip: Take this Bmaj9 shape. Now, move it up and down the fretboard. The shape is movable. On the 5th fret, it becomes Emaj9 (E-G#-B-D#-F#). On the 10th fret, it's Amaj9 (A-C#-E-G#-B). You now have a family of lush, major 9th chords. The same logic applies to minor chords. Find a minor 9th shape (e.g., Gm9: G-Bb-D-F-A) and map it similarly.
Step 2: Embrace Open Strings and Drone Notes
One of the easiest ways to achieve a plush sound is to incorporate open strings into your fretted shapes. This creates instant resonance and complexity.
- Example: Play a standard D major (xx0232). Now, instead of playing the high E string (2nd fret), let it ring open. You now have a Dadd4 (D-A-D-F#-C#? Wait, open E is the 9th? D-E-F#-G-A-B-C. E is the 9th. So D with open E is Dadd9. This is a classic plush sound.**
- Example: Play a C major shape (x32010). Now, let the high e string (1st) ring open. This adds a Cadd6 (C-E-G-A) or C6 sound, as the open E is the major 6th of C. This is the sound in many John Frusciante (Red Hot Chili Peppers) parts.
- Exercise: Take any chord you know. Experiment by letting one or two of the highest strings ring open instead of fretting them. Listen to how it changes the color. Does it create a 9th, 11th, or 6th? That’s your plush ingredient.
Step 3: Master the Arpeggio Pattern
The rhythm is non-negotiable. A stone temple plush chord played with a brutal downstroke loses its magic. The standard pattern is a rolling, fingerstyle arpeggio.
- Classic Pattern (for a 5-string voicing): Thumb (bass note, often root or 5th) -> Index (4th string) -> Middle (3rd string) -> Ring (2nd string) -> Pinky (1st string). Then reverse or vary it.
- Hybrid Picking Pattern: Pick the bass note with a pick, then use middle and ring fingers to pluck the 4th, 3rd, and 2nd strings in a cascading pattern, finishing with a pick stroke on the high string.
- Practice: Set a metronome to a slow tempo (60 BPM). Take your new Bmaj9 shape. Play the arpeggio pattern slowly, ensuring every note rings clearly. Focus on even volume and timing. Gradually increase speed. The goal is a smooth, harp-like cascade.
Creative Applications: Beyond Lush Intros
Once you have these chords in your fingers, where do you use them? Their strength is in creating mood, dynamics, and contrast.
As Dynamic Verse or Pre-Chorus Material
In a typical rock song, the verse might be sparse—clean guitar, simple chords. Using a stone temple plush chord progression here creates an immediate sense of depth and sophistication that makes the subsequent, heavier chorus hit even harder. Think of the clean, arpeggiated verses of "Plush" versus the sludgy, distorted chorus. The contrast is electric.
For Atmospheric Bridges and Outros
These chords are perfect for sections where you want to dissolve tension, not build it. A bridge that moves through a series of lush, extended chords (e.g., | Amaj9 | F#m11 | Dmaj7 | C#m9 |) can create a floating, dreamlike quality that provides a breather before the final chorus explosion.
Layering and Production
In a band setting, stone temple plush chords are a guitarist’s secret weapon for layering. You can have one guitarist playing a distorted rhythm part on power chords, while the second guitarist plays these clean, arpeggiated voicings in a higher register. The two parts interlock, creating a wall of sound that is both heavy and harmonically rich. In the studio, double-tracking these arpeggios with slight variations in timing and tone creates a shimmering, wide stereo image that defines the 90s alternative rock aesthetic.
Common Pitfalls and How to Avoid Them
As you explore this territory, watch out for these common mistakes.
Muddy Low End
Problem: Playing full, 6-string barre chords with extensions. The low notes (especially the 5th and root) can become muddy, especially on a clean tone.
Solution:Mute the 6th string. Use voicings that start on the 5th string (A string) or even the 4th string (D string). This immediately cleans up the low end. Let the bass player handle the fundamental root if needed.
Ignoring the 3rd and 7th
Problem: Getting caught up in adding the 9th and 13th but forgetting the chord’s defining tones. A chord with a 9th but a missing 3rd is harmonically ambiguous and can sound wrong.
Solution:Always identify the 3rd and 7th in your voicing first. Are they present? Are they on strong beats? Once those guide tones are secure, add your "plush" extensions (6th, 9th) on top.
Monotony in Rhythm
Problem: Using the same arpeggio pattern for every chord. It becomes predictable and loses its hypnotic quality.
Solution:Vary your picking pattern. For one chord, use a thumb-index-middle-ring pattern. For the next, use a hybrid-pick roll. Change the order of the strings you pluck. A slight rhythmic variation—a syncopation, a pause—can add immense interest.
Forgetting the Bass Movement
Problem: Chords that don’t connect smoothly. Lush chords often work best in progressions with strong bass line movement (e.g., descending fifths: Cmaj9 - Am9 - Dm9 - G13).
Solution: When choosing your voicings, pay attention to the note on your lowest-sounding string. Can you make it move stepwise or in smooth leaps? This internal voice leading is what makes progressions of plush chords sound professional and cohesive, not just a random sequence of fancy chords.
The Modern Resonance: Why Stone Temple Plush Chords Still Matter
You might think this is a nostalgic dive into 90s guitar tricks. It’s not. The harmonic language of stone temple plush chords has permeated modern music. Listen to the clean, chiming guitars in Fleet Foxes or Bon Iver—it’s the same principle of open, resonant voicings. The ambient, textural playing of John Mayer in his Continuum era or Nirvana’s unplugged session (think "Something in the Way") uses these sparse, extended voicings to devastating emotional effect. Even in pop, producers and guitarists use these lush, clean chord beds to provide a soft, warm foundation for vocal melodies.
The reason for their endurance is simple: they sound human and complex. In an age of synthetic sounds and heavy processing, the organic, resonant, and harmonically rich sound of a well-played, extended chord on a clean guitar feels intimate and timeless. It connects on an emotional level that a distorted power chord, for all its aggression, sometimes cannot.
Conclusion: Weaving Your Own Sonic Velvet
The journey to mastering stone temple plush chords is not about memorizing a dozen new shapes. It’s a shift in harmonic thinking. It’s about understanding that a chord is more than a collection of three notes; it’s a texture, a color, an emotional catalyst. It’s about the courage to omit notes (like the 5th) to make space, the wisdom to place the 7th and 3rd as your anchors, and the creativity to let an open string sing alongside your fretted notes.
Start today. Take one song you love that uses this sound. Slow it down. Tab out the chords. Identify the extensions. Then, take that knowledge and apply it to your own songwriting. Try writing a verse progression using only maj9 and min9 chords, arpeggiated slowly. Experiment with moving one finger on a basic chord to create a 7th or a 6th. Listen to how it changes the entire mood.
This is the power of stone temple plush chords. They are the guitarist’s palette for painting with shades of gold, crimson, and deep blue—colors that simple black and white can never reach. They transform a progression from a sequence into a story, from a backdrop into a character. So go forth, explore those extended harmonies, and start weaving your own sonic velvet. The lush, emotional landscape of modern guitar is waiting for your unique voice.
