root and fifth, with a second or fourth where the third would be — or nothing at all
The third is the note that decides major or minor, and everything here does without it. A sus chord puts a second or a fourth in its place and sits unresolved until that note falls back; a power chord leaves the space empty, which is why it survives distortion where a real third turns to mud. Either way the chord is neither major nor minor, and that ambiguity is the whole point.
59 chords here, 5 symbols across 12 roots.
On all 12 roots.
On all 12 roots.
On 11 roots — the bass this symbol names is only reachable from these.
On all 12 roots.
On all 12 roots.
Every chord on the site, grouped by root instead, is on the full index. Where the shapes and the theory come from is on the about page.
Shows each chord the way this style would voice it, and marks which of its alternatives belong to the idiom.