Tap 3 or 5 in the Omit row to drop the third or the fifth from your chord. For an extension or upper alteration, long-press its button — or click the chip in the Building row — to switch between the modes that make musical sense for your current chord.

The Omit row — drop the 3rd or 5th

Tap 3 under Omit to remove the third; tap 5 to remove the fifth. The chord name picks up (omit3) or (omit5) and the voicings rebuild without that note.

• Omit 3 drops the third. The chord loses the interval that says "major" or "minor".
• Omit 5 drops the fifth. This is common in jazz voicings, where the fifth is the easiest note to leave out without losing the chord's flavour.

You can tap both. C13(omit3,omit5) is a valid Fretscape search, though omitting the 3rd makes the chord more ambiguous because it no longer clearly says major or minor.

On a sus2 or sus4 chord there's no 3rd to begin with, so the 3 chip is disabled.

Adding or omitting an extension

The buttons in the Extensions row — 6, 7, maj7, 9, 11, 13 — can be tapped to add the standard form, or long-pressed (or right-clicked on a computer) to open an add / omit / cancel menu. The menu only offers the options that make musical sense for your current chord:

• Standard — Bb9. The extension stacks with the implied lower extensions, so a 9 on Bb brings in the 7 by convention.
• Add — Bbadd9. The extension joins the chord without bringing the lower extensions along, so you get the triad plus the 9 only. Add is available on 9, 11, and 13 — for 6, 7, and maj7 the add form means the same as the standard form, so it's not offered.
• Omit — Bb13(omit11). The chord keeps the larger extension label, but the selected implied note is left out of the actual voicing. Omit is available whenever that note is in the chord — either selected directly or carried in by a higher extension.

Each mode shows as a different-coloured chip in the Building row — dark for standard, green for add, red for omit — so you can tell at a glance which mode each token is in.

Adding b9, #9, #11, or b13 as a separate note

Tapping b9, #9, #11, or b13 on the Alterations row chooses the most musical default automatically:

• If the chord doesn't already have the parent extension, the alteration is added as a stacked tone — tapping b9 on a plain C gives you Cadd♭9.
• If the chord already has the parent extension, the alteration replaces it — tapping b9 on C9 gives you C9(♭9).

If you have the parent extension in and you specifically want the add form anyway, long-press the alteration button to open an add option in the menu. The other two alterations — b5 and #5 — just alter the 5th and don't have a separate add mode.

Cycling modes from the Building row

Once a chip is in the Building row, you can change its mode without going back to the button row. Click the main body of the chip (not the ×) to step forward through the modes:

• Extension chips step standard → add → omit → removed.
• Upper alteration chips toggle between altering an existing chord tone and adding the note on its own, then to removed.

Modes that wouldn't make musical sense for your current chord are skipped automatically. A chip with no other meaningful states just jumps straight to removed in one click.

Why you'd want any of this

A few common reasons:

• Voice leading. Leaving out the 5th can make room for a smoother shape; leaving out the 3rd can avoid clashing with a melody or keep the chord deliberately ambiguous.
• Stretches. Skipping a note can free up your hand for a shape that would otherwise be too wide.
• Specific chord names. add9 and (omit5) are part of real chord notation, and Fretscape needs to know which version you want.
• Ambiguity on purpose. A chord without the 3rd doesn't commit to major or minor — handy for the open, less-decided sound of a power chord.