In this article
A power chord contains a root and perfect fifth, often with the root doubled an octave higher. C5 is C–G or C–G–C. Because it has no third, it does not define a major or minor chord quality by itself.
Hear the examples.
Choose an example, then press Play. Compare the notes as well as the sound.
C5
The root and fifth, with an octave doubling. There is no third.
These are not Captain Plugins audio.Ready to play
Build the interval first
Count seven semitones above the root to find the perfect fifth. C to G, D to A and E to B all use the same distance. Add a higher copy of the root if you want a three-note shape. This is still only two distinct pitch classes.
On a piano roll, place the root, then a note seven semitones higher. Add the octave at twelve semitones. Keep their starts aligned for a block chord, or offset them deliberately for a picked or strummed feel.
Guitar shapes and keyboard voicings
In standard guitar tuning, a root on the low E string with the fifth two frets higher on the A string gives a familiar movable shape. The octave sits on the D string at the same fret as the fifth. Mute unused strings so an accidental open note does not add unwanted harmony.
The interval stays the same on keyboards and synths, even though there is no physical guitar shape. Try a low root with a higher fifth instead of packing every note into the bass register. Standard guitar shapes can change when they cross the B string or when you use another tuning.
Why leaving out the third can help
A third establishes major or minor colour. Removing it gives the melody or another instrument more room to imply that colour. It also produces a simpler interval structure for heavily distorted sounds, though the best voicing still depends on the sound and register.
Try C5 beneath a melody using E, then beneath one using E♭. The accompaniment has not changed, but the combined harmony has. A power chord is therefore harmonically open, not a guarantee that every melody will fit.
Write a part, not just a stack of notes
Use C5–A5–F5–G5 as a starting sequence. First play one chord per bar. Then shorten the chords, leave rests, or put selected attacks between the beats. Changes in note length and accents often do more for the groove than adding more notes.
Check the fifth against your bass and vocal. A power chord can still clash with a strongly featured note. If the low end becomes muddy, let the bass carry the root and move the chord higher. Compare in the full mix at a consistent volume.
Keep the notes in view.
| Symbol | Two-note form | With octave |
|---|---|---|
| C5 | C · G | C · G · C |
| D5 | D · A | D · A · D |
| E5 | E · B | E · B · E |
| A5 | A · E | A · E · A |
| B♭5 | B♭ · F | B♭ · F · B♭ |
Try it in Captain Chords.
Use a simple progression as your sketch, then edit or export its MIDI to build a root-and-fifth part in your DAW. Compare the power-chord version with the full triads under the same melody.
See the current editing workflow.
The Captain Plugins 8 update video shows the canvas and selection-based editing.
Common questions
Is C5 a major chord?
C5 has no third, so the symbol does not specify major or minor. Other parts in the music may supply that missing colour.
Do power chords need three notes?
No. Root and fifth are enough. The third note in a common guitar shape is an octave doubling of the root.
Can I replace every chord with a power chord?
You can experiment, but removing thirds and sevenths removes harmonic information. Some melodies and progressions depend on those notes to make their meaning clear.