A free chord dictionary and reverse chord finder โ every voicing checked by hand for the fingering you would actually use.
Your fingers are somewhere on the neck and you don't know what you're holding. Tap that shape onto the fretboard above and the Finder names it.
Nothing coming back almost always means one note in the shape belongs to no standard chord. Mute a string and try again. If you'd rather start from something that works, Example drops a shape in.
Two names for one grip isn't a bug. Six strings can't carry every note of a large chord, so what's left over often spells two things at once. Am7 and C6 are the same four notes; which one it is depends on the song around it, not the shape.
Pick a key on the left and you get the chords that belong to it. Tap them in the order you want and they line up as a progression. If you'd rather not start from scratch, take one of the presets underneath and change it from there.
The shapes you get back aren't the ones you learned first. They're the set where your hand moves least from one chord to the next, which is why the same four chords can come back looking different depending on what surrounds them.
Watch the top note line under each chord. The highest string is the one an ear hears as the tune, so a progression whose top note shifts by a fret or two hangs together. One that jumps around sounds like four unrelated chords played in a row, even when the chords are right.
Turn Open chords off to keep everything up the neck in one position. Worth doing when a capo has already taken your open strings, or when a bass player is covering the low end and your open strings are just mud.
Three-note chords are where a key starts. Chord flavour restacks every degree at once: sevenths for jazz and soul, add9 when you want something open, sixths when a seventh sounds too much like an ending, sus to sit between major and minor.
Degrees don't all take the same flavour, so it adapts. Ask for sevenths in a major key and the V comes back a dominant seventh while the I and IV come back major sevenths. That gap is the whole reason the V pulls home. Where a flavour would drag in a note from outside the key, that one chord stays a triad.
Tap a single chord in the strip to change just that one. Songs rarely keep one flavour the whole way through, and one m7 in a row of triads is often the entire idea.
Pick a root on the left, then a quality. You get every shape for that chord that's worth playing, ordered from the nut upward. Each dot carries the finger you press it with. X over a string means mute it, O means let it ring.
Where the sensible grip is thumb over the top of the neck, the dot says T. Diagrams that instead put your index finger on two different frets at once are the reason some shapes feel impossible to hold. There aren't any of those here.
Common chords have a handful of shapes and you'll see them all. Something like maj7add11 can have twenty-odd, so a few representatives are shown first and All opens the rest.
Large chords don't fit. A 13th has seven notes, you have six strings, and one of them is often muted by the thumb. So the shapes that drop a note are labelled with the one they drop — 5th omitted, for instance — instead of being quietly passed off as complete.
A shape is only filed under a chord when the notes still ringing spell that chord and nothing simpler. Take the 5th out of a 6/9 and what's left is a 7sus2 a whole step up. That's a different chord, so those shapes aren't in here at all, under either name.
Chords with a bass note other than the root have their own section above the voicings. They're what makes a progression walk down by step rather than jump, and they're only listed where the alternate bass actually changes something.
Underneath the shapes you'll find which keys the chord belongs to and which progressions use it, with links straight into the Progressions tab. The whole dictionary also exists as plain pages grouped by root and family if you'd rather read than tap.
Learn what the O's, X's, finger numbers, and connecting bars on our fretboard diagrams actually mean before you touch a string.
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