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Of course, chords are named after the third, so we can't just call them major and minor based on which fifth they use. Instead, we call chords built using the "major" fifth natural, while ones built with the "minor" wolf fifth are "wolf." For example, 0-5-9 is the major chord, while 0-5-8 is the wolfmajor chord. Since the wolf fifth is a tritone, wolf chords can be used for similar tritone-y stuff as the 12edo tritone - but note that neither this tritone nor the previous one are as dissonant as the 12edo tritone. Even edos perfectly hit the 1 to square root of 2 interval that defines the tritone, while odd edos can't.
Of course, chords are named after the third, so we can't just call them major and minor based on which fifth they use. Instead, we call chords built using the "major" fifth natural, while ones built with the "minor" wolf fifth are "wolf." For example, 0-5-9 is the major chord, while 0-5-8 is the wolfmajor chord. Since the wolf fifth is a tritone, wolf chords can be used for similar tritone-y stuff as the 12edo tritone - but note that neither this tritone nor the previous one are as dissonant as the 12edo tritone. Even edos perfectly hit the 1 to square root of 2 interval that defines the tritone, while odd edos can't.
==Sixths and sevenths==
In this system we have two sixths: 10\15 and 11\15. The former makes the augmented chord, 0-5-10, while if it exists in the scale I'm using, I prefer 11\15 for those spicy 6th chords you may have heard about.
13\15 and 14\15 are seventh-like, with 13\15 as a minor 7th and 14\15 as a major 7th. This also means that if it exists, 13\15 will likely be your guy for seventh chords, as dominant sevenths are the default.
12\15 is in a weird case; I tend to call it the "wolf seventh" though, as it has the same interval with the wolf fifth (8\15) that the wolf fifth has with the minor third (4\15). However, it is "technically" a harmonic seventh, and forms harmonic seventh chords.
==Putting it all together==
The following is a table of chords that I have created in messing around with 15edo. They are all justified on 0, so not every scale is going to have these. A whole separate page can go into what chords naturally occur in each mode of a given scale.
{| class="wikitable sortable"
|-
! Contents
! Name
! Other names
! Notes
|-
| 0 2 8
| wolfsuspended-2
|
|
|-
| 0 3 8
| wolfminor
|
| I offset wolf-fifth chords by one compared to natural-fifth chords.
|-
| 0 4 8
| wolfmajor
| diminished
| In a minor piece, this will sound diminished.
|-
| 0 5 8
| wolfsupermajor
| wolfsuspended-4
|
|-
| 0 3 9
| subminor
| suspended-2
| With a proper 9\15 interval, 3\15 can appear either to be a wolf third or a major second.
|-
| 0 4 9
| minor
| ||
|-
| 0 5 9
| major
| ||
|-
| 0 6 9
| suspended-4
| ||
|-
| 0 5 10
| augmented
| ||
|-
| 0 4 8 12
| wolfmajor 7th
| diminished 7th
| See also the original 0-4-8 chord.
|-
| 0 4 9 13
| minor 7th
| ||
|-
| 0 5 9 13
| dominant 7th
| ||
|-
| 0 5 9 14
| major 7th
| ||
|-
| 0 5 10 13
| augmented 7th
| ||
|-
| 0 5 10 14
| augmented major 7th
| ||
|}
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