Chord Calculator

This utility will identify chords.
Below, you can choose how you'd like to enter them.
You can also specify your chord symbol preferences.
Entry Method

By Piano

Check all that apply.  

By Guitar

This guitar is in standard tuning. Select the notes of the chord.  

By Pitch Class

Check all that apply.  
Root Include
In Chord
Pitch
Class
Uncommon
Enharmonics
B♯ & D
B
C & E
F
D & F♭
E♯ & G
E
F & A
G & B
C
A & C♭

By Root & Intervals

Specify the root and then select all the intervals that apply.
Root
Seventh

Second
Ninth

Third

Fourth
Eleventh

Fifth

Sixth
Thirteenth


      
Chord Symbol Inversion Triadic Quality Voicing Integer Notation MIDI Notes Confidence
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This tool may be useful for suggesting possible names for complex chords, but it is not a substitute for proper chord analysis, which should always take context into consideration. It will liberally accept a wide range of input and do its best to find a matching chord symbol, even if there is no third or fifth. Two or more notes of unique pitch class constitute a “chord” that can be analyzed.

While the chord symbols given here will unambiguously tell you the pitch classes within a chord, some are better than others. What to call a chord is, in many cases, subjective, and the chord symbol system is not perfect. However, if you see something that's definitely wrong, say something!

The confidence ratings are an attempt to determine the “best” or, perhaps, most likely name for a given chord. The algorithm deducts points for complexity, multiple added intervals, inversions, uncommon enharmonic spellings for constituent notes (like E♯ instead of F, for example), missing thirds and fifths, and whether the given intervals are in the stated octave. (For example, is the “11th” really a perfect 11th from the root?) Ratings of 100% are likely to be a very good name for the chord. High 90s are probably strong (and sometimes better) alternatives.

The algorithm is designed for close harmony and does not ever propose “slash” chords. G/B will always come out as G in 1st inversion and G/F♯ will be Gmaj7 in 3rd inversion, even when it's “obvious” that the F♯ is part of a descending bass line, for example.