What the B5 chord is
The B5 chord is a power chord built from the root B and a perfect fifth F#. In shorthand this is written as B5. Because it lacks the third, it is neither major nor minor in color and tends to sound neutral, open, and harmonically ambiguous. On instruments tuned in fourths (such as guitar), a common shape is X24442 (root on the fifth string, two fingers freting the fourth and third strings at the fourth fret). On a four course tenor banjo tuned in fifths (CGDA), a typical shape is 2200. The chord commonly appears in rock, punk, metal, and folk styles as a bold, riff-based sound that benefits from focused rhythm and careful placement within a progression.
Notes and intervals in B5
Core pitch classes
The core notes of a B5 chord are:
- B (root)
- F# (perfect fifth)
An octave B on either side can be added for body without changing the chord quality. Because the third is omitted, you can treat B5 as a neutral, color-neutral sonority that can sit over a pedal tone or be moved through a progression with relatively flexible voice-leading.
Standard guitar shapes and voicings
EADGBE tuning power chord shapes
On standard guitar tuning, the most common B5 shapes are power-chord forms that emphasize the root and fifth while minimizing third intervals:
- X24442 (fifth-string root): root on fifth string second fret, fifth on fourth string fourth fret, octave on third string fourth fret.
- X46664 (octave-on-fourth version): root on fifth string fourth fret, fifth on fourth string sixth fret, octave on second string sixth fret.
- 799777 (seventh-position variant): root on fifth string seventh fret, fifth on fourth string seventh fret, octave on second string seventh fret.
All of these shapes avoid the third and highlight the interval of a perfect fifth, making them especially useful in loud rock, metal, and punk contexts where clarity and punch are priorities.
Common fingerings on four course tenor banjo
For four course tenor banjo tuned in fifths (CGDA), a compact B5 option is:
- 2200: second fret on the C course and second fret on the G course, leaving the D and A courses open.
Other movable four-note voicings can accent different string sets, but the 2200 shape is often favored for its straightforward root-and-fifth layout and ease of switching to related chords.
How B5 functions harmonically
In the key of E major
In the key of E major (E F# G# A B C# D#), the naturally occurring perfect fifth on scale degree 5 is B. Therefore B5 functions as the dominant power chord in E major, reinforcing the tonal center E when placed before E or used in a I–V–I pattern. Compare this to a B major triad (B D# F#), which would introduce a third and imply a brighter, more directional sound.
In the key of C# minor
In C# natural minor (C# D# E F# G# A B), the fifth scale degree is also B. Here B5 often serves as a neutral, harmonically ambiguous chord that can sit near the tonic without strongly affirming minor quality. Because the third is absent, it does not define major or minor, giving mixolydian or modal flavors depending on context.
Voice-leading and transition options
Because the third is omitted, B5 can often move by half-step or whole-step with minimal friction. Common approaches include:
- B5 → A5: down a whole step, preserving the fifth-interval grip on the neck.
- B5 → A5 → G5: a classic rock riff motion that relies on shared fingerings and smooth string crossing.
- B5 → C5: half-step up, useful for tight chromatic riffing while keeping the root movement obvious.
In arrangements, consider reinforcing the root on a bass instrument or low string to keep the tonal center clear, and use dynamics or rhythmic accents to define phrase shape rather than relying on third-related color.
Practical tips for clean playing
- Barre lightly and aim for consistent fretting pressure to avoid buzz on lower strings.
- Mute unused strings with fretting-hand fingers or the picking-hand palm to keep the riff tight.
- Anchor the rhythm with a steady down-up pattern and emphasize the root on strong beats to clarify tonality.
- Experiment with partial chords that include the seventh (F#) as an added color note if you want more harmonic definition while retaining a powerful, open character.