The A5 mandolin chord contains A, E. Its first mandolin voicing is a barre chord at fret 2: G string at fret 2 (index finger); D string at fret 2 (index finger); A string open; E string open. As a power chord chord it has a distinct job in a progression, and this page explains that job alongside the fingerings, the notes and the practice steps that make it stick.
What notes are in the A5 chord?
The A5 chord is a power chord chord, and its notes are fixed: A, E. Every voicing on every instrument uses these same notes, in some order and in some octave — change one of them and you are playing a different chord. The table below lists each note with its interval from the root A, so you can see the structure of A5 at a glance. On the mandolin, the barre chord voicing is the place to hear it in A5.
| Note | Interval |
|---|---|
| A | Root |
| E | 5 |
The root is A, the note the chord is named after and the note your ear hears as home. Above it, the intervals in A5 are 5. Learn those intervals rather than memorising the shape alone, because the same interval pattern transposed to another root gives you the same quality of chord anywhere. On the mandolin, the notes appear in the order the fingering dictates, but the set of notes never changes.
A5 sounds bold and simple, two notes that cut through a mix better than any full chord. The colour is strongest when all the notes ring clearly. A muted chord tone, especially the 3rd or the 7th where the chord has one, flattens the character of A5 noticeably. On the mandolin, the barre chord of A5 puts those notes under your fingers in the order the fingering lists them.
Comparing A5 with its closest relatives helps to fix it in your ear. In short, power chord against a full triad: A5 has only A, E — root and 5th. Add the 3rd C# and it becomes major; add C and it becomes minor. Practise the two chords back to back and listen to the one note that changes — that single note is the difference between the two chords. On the mandolin, the barre chord voicing is the place to hear it in A5.
How to play A5 on mandolin
On the mandolin, A5 has 3 voicings in the data below, and each one uses the same notes — A, E — in a different place on the neck. There are 3 voicings listed for A5 on the mandolin; learn the first, then add the others as you need them. Finger numbers below use 1 for the index finger, 2 for the middle finger, 3 for the ring finger and 4 for the little finger, and x means the string is not played.
For the barre chord, A5 sits in around fret 1: G string at fret 2 (index finger); D string at fret 2 (index finger); A string open; E string open. It barres across strings 1 to 2 at fret 2 with the index finger. The barre is the hard part: the index finger must press every string from 1 to 2 evenly at fret 2, so roll it slightly onto its bony side and keep it close to the fret wire. If the barre buzzes, move it a fraction closer to the fret and press from the arm, not the thumb alone. Strum or pluck it slowly first and check that every note in A5 — A, E — sounds, with no buzz and no accidental open string.
For the barre chord, A5 sits in around fret 2: G string at fret 2 (index finger); D string at fret 2 (index finger); A string open; E string at fret 5 (middle finger). It barres across strings 1 to 2 at fret 2 with the index finger. The barre is the hard part: the index finger must press every string from 1 to 2 evenly at fret 2, so roll it slightly onto its bony side and keep it close to the fret wire. If the barre buzzes, move it a fraction closer to the fret and press from the arm, not the thumb alone. Strum or pluck it slowly first and check that every note in A5 — A, E — sounds, with no buzz and no accidental open string.
The open position is the voicing to learn if you want A5 in around fret 1: G string at fret 2 (index finger); D string muted; A string open; E string open. The challenge here is the muted string: 1 string is marked x, and it needs to stay silent. Let the edge of a fretting finger rest lightly on it — muting by touch, not by pressing. Strum or pluck it slowly first and check that every note in A5 — A, E — sounds, with no buzz and no accidental open string.
Choosing between the voicings of A5 is a musical decision, not a right-or-wrong one. The open or low-position voicing rings the most and suits strumming, while a barre or movable voicing lets you slide A5 up the neck to any key without changing the shape. When you change chords, pick the voicing of A5 that sits closest to the chord before it — shorter moves between shapes mean faster, cleaner changes. Practise the change into A5 from the chord that comes before it in your song, not the chord on its own, because the move is the skill. On the mandolin, start with the first voicing above and listen for the notes A, E in A5.
A short practice routine for A5 on the mandolin: play the first voicing four times slowly, checking each note, then change to it from the chord a fourth above A and back, four times, at a slow tempo. Then play the second voicing the same way. If a note buzzes, stop and fix the finger placement rather than playing through the buzz — clean notes at a slow tempo become clean notes at full tempo, while buzzes practised fast become habits. Use the Mandolin Chord Finder to see the diagram for A5 while you practise, and the Chord Finder to compare it with the same chord on other instruments.
Common mistakes
These are the mistakes that most often make A5 sound wrong on the mandolin, and each one has a concrete fix. Work through them one at a time rather than trying to fix everything at once.
Adding a 3rd by accident. A stray finger on the 3rd can turn a power chord into a triad, which sounds muddy through distortion. Mute the strings that should not sound. On the mandolin, the barre chord of A5 puts those notes under your fingers in the order the fingering lists them.
Letting open strings ring. Open strings that are not part of the chord blur the sound. Mute them with the edge of your fretting hand. On the mandolin, start with the first voicing above and listen for the notes A, E in A5.
Playing it too slowly. Power chords are about rhythm and movement. Practise changing them on the beat, not between beats. On the mandolin, start with the first voicing above and listen for the notes A, E in A5.
Using it where a triad is needed. A5 has no 3rd, so it cannot carry the major-or-minor information a melody sometimes needs. Use full triads in clean, melodic passages. On the mandolin, the barre chord voicing is the place to hear it in A5.
Where A5 is used
A5 is not a diatonic triad in any major or minor key, because it is an extended or altered chord, but its base triad belongs to the key of D major, the key of E major, the key of A major. a neutral chord that works over major or minor, since it contains no 3rd. As a dominant-type chord it also points toward D major, the key a perfect fourth above A, which is the tonic it most often resolves to. That is where A5 does its work: not as a home chord, but as a chord that creates movement and then resolves. On the mandolin, start with the first voicing above and listen for the notes A, E in A5.
Because A5 is an extended or altered chord, it appears in progressions as a colour or a dominant rather than as a diatonic staple. Try it in place of the plain A triad in a progression you already know, and listen to how the extra notes change the feel — that substitution is the usual way extended chords enter real music. The Chord Progression Builder lets you try A5 in a progression in any key and hear how it connects to the chords around it. On the mandolin, the barre chord voicing is the place to hear it in A5.
The same chord on other instruments is covered in A5 on guitar, A5 on piano, A5 on ukulele, and the scales that fit over it are the A major scale and the A minor pentatonic scale. Learning A5 on the mandolin and then checking it on another instrument is one of the best ways to fix the notes — A, E — in your memory, because the notes stay the same while everything else changes.
Practising A5
A short worked example makes A5 concrete. Play the four-chord progression D – A – Bm – G in D major, the key A5 most often resolves toward: D – A – Bm – G. Play each chord for one bar at a slow tempo, and listen to how A5 sounds in that sequence — whether it feels like home, like a lift, or like a chord on its way somewhere else. Then play the same four chords in a different order, starting on A5 itself, and notice how its character changes when it opens the progression instead of sitting inside it. On the mandolin, the barre chord of A5 puts those notes under your fingers in the order the fingering lists them.
For a second exercise, play A5 and then the chord a fourth above A, back and forth, four times each. That move — a chord and the chord a fourth above it — is the most common resolution in Western music, and it is the move A5 is built for when it acts as a dominant. Finish by playing A5 on its own, slowly, and naming each note out loud as you play it: A, E. Naming the notes while you play them is what turns a shape into knowledge you can use in any key. Test yourself with the Practice Chord Quiz and keep time with the Metronome as the tempo rises. On the mandolin, start with the first voicing above and listen for the notes A, E in A5.
Frequently asked questions
What is the easiest voicing of A5 on the mandolin?
The barre chord is the easiest voicing listed for A5 on the mandolin: frets 2–2–0–0, fingers 1–1–0–0. Learn that shape first, get every note ringing cleanly, and only then move on to the alternative voicings further up the neck.
Is A5 major or minor?
Neither. A5 contains only A, E — the root and the perfect 5th — so it has no 3rd to make it major or minor. That is why it works over both. On the mandolin, the voicings above put that note under your fingers.
Why do rock guitarists use A5?
Through distortion, full triads sound muddy because the overtones clash. A power chord has only two notes, so it stays clear and punchy even with heavy distortion. On the mandolin, the voicings above put that note under your fingers.
What notes are in A5?
Just two: A, E. The root A and the perfect 5th E. Some voicings add the root an octave higher, but the chord itself is only those two pitch classes. On the mandolin, the voicings above put that note under your fingers.
How do you play A5 on the mandolin?
The first voicing is the barre chord: frets 2–2–0–0, fingers 1–1–0–0, on the mandolin. That voicing uses the notes A, E, and it is the one to learn first. The page above lists more voicings for A5, so you can choose the shape nearest the chords around it.