Chord Identifier

Enter notes such as C E G or G B D F and match common chord structures locally without uploading audio.

Identify a chord from note names

Enter pitch names separated by spaces or commas. Common triads, suspended chords, sixths and seventh chords are matched by pitch class; enharmonic spelling and advanced jazz/altered chord naming can have multiple valid interpretations.

Chord notes

—Unique pitch classes

—Best root

—Best match

—Position hint

ReadyEnter at least two valid note names.

Chord Identifier: Notes, Intervals & Inversion Audit

Identify chord-note structure with pitch-class normalization, interval set, inversion evidence and enharmonic handoff.

Note spelling

Practice and playback notes

connects timing, tuning, pitch reference, virtual instruments and music-theory tools without requiring an account. Existing interactive engines remain intact while the new workflow makes it easier to move from a practical task—keep time, tune, play, identify, transpose—to the next relevant tool.

Audio and theory boundaries

Microphone pitch detection depends on the device, room and signal quality. Equal-tempered frequency math does not measure a real instrument, and chord/scale naming can have multiple enharmonic or theoretical interpretations. Reference tones and noise should be used at comfortable playback levels; browser controls do not measure sound-pressure exposure.

Practical guide and verification

Use the interactive product above first. These notes add interpretation, verification and limits below the results and product controls.

Enharmonic spelling changes readability even when pitch classes match

C-sharp and D-flat can sound the same in equal temperament while implying different harmonic roles. Use the sharp/flat preference to make the returned chord name fit the key or written context rather than treating every spelling as interchangeable notation.

The lowest entered note can suggest an inversion

A chord may contain the same pitch classes while sounding and functioning differently when the third, fifth or another chord tone is in the bass. Compare the identified root with the lowest note instead of assuming every match is root position.

Extra notes can turn a clean triad into several plausible names

Added sixths, sevenths, ninths or suspended tones can produce multiple reasonable labels. Prefer the interpretation that explains the most entered notes with the fewest unexplained tones and matches the musical context around the chord.

Playback is a confirmation aid, not an identification proof

Hearing the entered notes helps catch a typo or octave mistake, but the same collection can have more than one harmonic interpretation. Use the note list and interval audit together with playback before accepting one label.

Keep duplicated octaves from distorting the analysis

Repeating the same pitch class in another octave changes voicing but not the basic pitch-class set. When the chord name looks unexpectedly complex, check whether the intended harmonic information is really the unique notes rather than every repeated octave.