It sounds blunt, and neither major nor minor. Distortion turns a real third to mud, which is why rock guitar plays this instead of a triad.
4 moveable shapes. None has an open string in it, so each one plays every root there is; the dots are degrees, and R is the root.
Pick a root and every diagram below moves to it. Nothing about any of the shapes changes — only the fret they start on, and each one starts somewhere different because they are rooted on different strings.
Showing C5. Every voicing of it, open strings included, is on its own chord page.
The lowest root available, so these are the fullest-sounding shapes and the ones that carry a band. F at the first fret, G at the third, A at the fifth: the shape is the same and the fret is the whole of the difference.
8-10-10-x-x-x
3 notes · 3 frets
The other half of the pair. Pair them with the low E shapes and the hand barely moves: the root a fourth up sits at the same fret on the A string, and the root a fifth up two frets higher.
x355xx
3 notes · 3 frets
No bass note under it, which is the point rather than a shortcoming: these sit above a bass player instead of competing with one, and they reach the extensions the lower shapes have no fingers left for.
x-x-10-12-13-x
3 notes · 4 frets
Nothing at all underneath the root here. There is no bass to compete with anybody, which is the whole use of these: they comp over a bass player, or sit under a melody, and they are what is left of a chord once everything not telling you what it is has been taken away.
xxx588
3 notes · 4 frets
Every voicing of one particular 5 chord — including the open-string ones that do not move — is on that chord's own page, linked under each shape above. All the moveable shapes for every quality are on the shapes index, and the suspended and power chords as a family are on their own page.
Shows each chord the way this style would voice it, and marks which of its alternatives belong to the idiom.