FROM THE REPERTOIRE
Read the analysis ↗YOUR MUSICAL TOOLKIT
Harmony Explorer.
Choose a key. Follow a progression.
Make something of your own.
Keep your musical ideas
Sign outYour work is private to your account and syncs across devices. Beta limits: 200 saved progressions and your last 50 unsaved plays. Opening an entry replaces the progression on screen.
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Add members using the email address they use to sign in with ChatGPT. Active members automatically receive CCG Pro access. This list is managed here; it does not yet sync with Mighty Networks.
Ending CCG access preserves saved work and any separate lifetime Pro entitlement. Complimentary beta saving remains available to all signed-in testers.
Harmony Explorer Pro — coming soon
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The click follows the selected tempo, with two beats per chord. Volume changes work during playback. Click and count-in changes apply on the next play.
7ths follow the chord quality: major 7ths on I/IV in major, minor 7ths on minor chords, and a dominant 7th on V. Letter chord symbols keep their explicit quality. Use the extension selector below any chord to change it individually.
Intervals: R (root), 3, 5, ♭7, etc. Numbers describe chord tones, not fingers. Open strings also show the selected labels.
Chord symbols · quick guide
| Symbol | Meaning | Example |
|---|---|---|
| C / Cm | Major / minor triad. | C–E–G / C–E♭–G |
| 7 / maj7 / m7 | Dominant, major or minor seventh. | C7 / Cmaj7 / Cm7 |
| dim or ° | Diminished triad. | Cdim = C–E♭–G♭ |
| dim7 or °7 | Fully diminished seventh. | Cdim7 = C–E♭–G♭–B𝄫 |
| m7♭5 or ø7 | Half-diminished seventh. | Cm7♭5 = C–E♭–G♭–B♭ |
| aug or + | Augmented triad: a raised fifth. | Caug = C–E–G♯ |
| sus2 / sus4 | Replace the third with the second or fourth. | Csus2: C–D–G; Csus4: C–F–G |
| 9 / 11 / 13 | Extended chords: add colour above the seventh. | C9, C11, C13 |
| add9 / 6 | Add a ninth or sixth without implying a seventh. | Cadd9: C–E–G–D; C6: C–E–G–A; Roman I(add6) distinguishes it from first-inversion I6. |
| b9 / #9 / #11 / b13 | Alter a ninth, eleventh or thirteenth over a dominant chord. | G7b9: G–B–D–F–A♭ |
| V/ii | Secondary dominant: tonicises ii in the current key. | A7 → Dm in C major |
| C/E | Slash chord: the note after / is the bass. | C major with E as the lowest note |
| I, IV, V / ii, iii, vi | Roman numerals show a chord’s degree in the key; uppercase is major, lowercase minor. | In C major: I = C, ii = Dm, V = G |
| 6 / 6/4 after a Roman numeral | Triad inversions: third or fifth in the bass. | I6 = C/E in C major; this is not C6 |
| 7 / 6/5 / 4/3 / 4/2 after a Roman numeral | Seventh chord in root position, first, second or third inversion. | V6/5 = G7/B in C major |
| ♯ / ♭ | Raise / lower a note or scale degree by a semitone. | F♯; B♭; ♭VII |
This legend explains symbols you may encounter; not every alternative spelling is accepted as typed input. Guitar shapes may omit some notes in extended chords: check “Played” and “Omitted” below each chart.
Standard tuning · strings run low E → high E · ○ open · × mute · numbers below and beside the grid are frets. White numbers inside dots suggest fingers (1 = index); a red bar shows a barre. Pluck only the marked strings; skip any × strings within a shape. Tap a chord to hear it. Movable shapes may need a barre.
Identify a chord
Enter the notes you hear or see. Multiple names can fit the same notes; the bass and musical context help you choose.
Read notes from a screenshot · guided
This is assisted reading, not automatic notation recognition. Upload a crop of one chord on a single, horizontal five-line staff. Mark the top and bottom staff lines, then tap each notehead. Confirm the clef, key signature and individual accidentals. Your image stays in this browser and is not uploaded or saved.
Upload a PNG, JPG or WebP screenshot up to 12 MB.
For piano grand staves, use one staff at a time and combine the extracted notes in the note-name field. Notes are interpreted at written pitch; guitar’s octave transposition does not change chord names. Carried accidentals must be chosen manually. Change the clef or key signature before tapping notes.
Compose & explore
Add a chord from this key
Build your own chord
Choose a region and a shape. Hear and Add use this exact voicing. Some chords have no compact 4–6-note shape in a selected region.
Harmonise a note
Finds every matching chord in this finite library: major, minor, diminished, augmented, seventh and extended families, sus2 and sus4. It does not include every possible altered chord or pitch combination. The key list uses the app’s major-V convention in minor. “Note on top” is applied when you inspect a chord’s voicings.
MAKE IT YOUR OWN
A small creative challenge
COMPOSE
IMPROVISE
5–10 minutes · your guitar is all you need
A few useful things to know
Inversions follow the actual bass: triads use 6 or 6/4; seventh chords use 6/5, 4/3 or 4/2. Root-position triads omit 5/3. Slash names show the bass even when it is not a chord tone. For extended, suspended and custom chords, a bass-note suffix is used instead of conventional inversion figures. Custom note sets can be entered as C[C.E.G.Bb].
Uppercase Roman numerals mean major chords; lowercase mean minor; ° means diminished. The numerals describe a chord’s role in the selected key. Letters name the actual chords.
Minor examples use a major V (or V7), raising scale degree 7 for the leading tone. Other chords come from natural minor. Relative major and minor share a key signature, but have different tonal centres.
“Perfect cadence” here means V–I (or V–i), also called an authentic cadence. A perfect authentic cadence additionally requires root-position chords and the tonic in the highest voice. These practical guitar shapes do not always meet that melodic condition.
Extensions use chord-symbol intervals: 9 = a major ninth, 11 = a perfect eleventh and 13 = a major thirteenth. They are colour options, not necessarily diatonic to the key. Diminished triads extended with the selector use half-diminished harmony (m7b5 etc.). A literal dim7 or Roman °7 specifies a fully diminished seventh.
Extended guitar voicings retain the root, identifying tones and the requested extension, but may omit the fifth or intermediate extensions. Major/dominant 11ths omit the third here; 13ths omit the 11th. “Played” and “Omitted” show exactly what is in each diagram and playback. More on extended harmony ↗
Fingerings are suggestions, not the only solution. Skip muted strings when fingerpicking. The catalogue covers frets 0–15 and offers up to two compact shapes per lowest-fret position, rather than every mathematical possibility.
Chord diagrams are practice voicings, not transcriptions of the cited pieces. Repertoire examples stay in their original keys; your practice progression transposes. A related model is explicitly labelled when it is not an exact match. Playback is a synthesised plucked sound, with two beats per chord.