F5 reduces a chord to its frame: F and C, the root and fifth. With only two distinct pitches, it behaves almost like an interval.
Its missing third is the point: the shape declares neither major nor minor. The pair below removes that choice from a major chord.
The major third rises three frets to the fifth. The chord no longer says major or minor.
With no third to clash, guitarists can move the same power-chord shape through a minor-pentatonic riff.
Also written F(no 3rd) or F power chord.
F5 has no third, so it is neither major nor minor, and it fits a minor-pentatonic tune where a triad’s third would clash. A riff moves the one shape along the neck, root on the notes of the scale.
Listen for: The root climbs a minor third, then a whole step, and drops back home; the shape never changes.
Heard in“Hold On! I’m Comin’”“Rumble” (I5 – ♭VII5 – I5)
In which keys. Every note of F5 belongs to C major, C minor, C# major, D minor, Eb major, F major, F minor, G minor, Ab major, A minor, Bb major and Bb minor.
Contains F5 and adds second, major third and sixth.
Contains F5 and adds minor third, fourth and flat seventh.
Contains F5 and adds minor third, fourth, sharp eleventh and flat seventh.
Contains F5 and adds second, major third, fourth, sixth and major seventh.
Contains F5 and adds second, major third, sharp eleventh, sixth and major seventh.
The common shapes and the derived voicings come from different places, and both are explained in how this site is built.
Shows each chord the way this style would voice it, and marks which of its alternatives belong to the idiom.