Understand chord types, symbols, intervals, and how they sound — then use ChordBeam to recognise them in real time on your keyboard.
A chord is three or more notes played simultaneously. The notes and the intervals between them determine the chord's name and quality — whether it sounds resolved, tense, dark or bright. The same chord can be played in many different ways (voicings and inversions) while keeping the same fundamental name and function.
Chord symbols pack a lot into a few characters. C, Cm, Cmaj7, C7, Cadd9 — small changes carry big meaning. This library explains each type so the symbols start making sense through use, not memorisation.
Every chord belongs to a family that shares a structure, a formula, and a characteristic sound. The families below cover the full range from basic triads to complex extensions.
1 – 3 – 5Built from a root, a major third (4 semitones), and a perfect fifth (7 semitones). Major chords sound settled and confident — the most common chord type in Western music. When harmony "resolves," it usually lands on a major chord.
1 – ♭3 – 5Lower the third by a half step and a major chord becomes minor. One small change — a noticeably darker result. Minor chords appear everywhere in gospel, blues, jazz and any music that needs weight, tension or emotional depth.
1 – ♭3 – ♭5Two stacked minor thirds create a tight, tense chord that desperately wants to move somewhere. Diminished chords are common in passing motion, classical resolution and gospel drama. The fully diminished seventh (Cdim7) stacks a third more on top.
1 – 3 – ♯5Raising the fifth by a half step creates a symmetrical, ambiguous chord that floats without landing. Augmented chords appear as transitional tension before a resolution and are common in film scoring, musical theatre and certain jazz movements.
1 – 2 – 51 – 4 – 5Suspended chords replace the third with a second (sus2) or a fourth (sus4). Without a third they have no major or minor quality — they hang open. This neutrality makes them very popular in worship, pop and cinematic music where a chord needs to feel unresolved.
1 – 3 – 5 – 9An "add" chord drops an extra note — usually the 9th — into a triad without inserting a 7th first. Cadd9 uses C, E, G, D. The result is bright and colorful but simpler than a full ninth chord. Very common in worship, folk and singer-songwriter writing.
1 – 3 – 5 – 61 – ♭3 – 5 – 6Adding the major sixth to a triad creates a chord associated with vintage jazz, classic R&B and big band writing. C6 sounds sweet and settled. Cm6 has a bittersweet edge — smooth but with a hint of longing.
Triad + 7thSeventh chords extend a triad by stacking a seventh above the root. C7 (dominant 7th, adds ♭7) is tense and bluesy and wants to resolve. Cmaj7 (major 7th, adds △7) is lush and open — the go-to chord for gospel and neo soul. Cm7 (minor 7th) is smooth and introspective, foundational in jazz and R&B.
7th chord + 9thNinth chords extend seventh chords by adding the 9th interval (a second, an octave up). They have a layered, full sound central to gospel, jazz and neo soul. C9 carries warm bluesy tension. Cmaj9 sounds open and cinematic. Cm9 has a deep, rich melancholy.
[Chord] / [Bass note]A slash chord specifies the bass note explicitly. C/E means a C major chord with E in the bass (first inversion). F/G places an F chord over G in the bass, creating a suspended or pedal effect. Slash chords give composers precise control over bass movement and are used throughout sheet music and lead sheets.
Root / 1st inv / 2nd invAn inversion puts a note other than the root at the bottom. C major root position: C on the bottom. First inversion (C/E): E on the bottom. Second inversion (C/G): G on the bottom. The chord quality is identical — the bass note and voice leading change. ChordBeam shows both the chord name and the bass note so you can identify inversions in real time.
Connect your MIDI keyboard and play any chord or voicing in the live Chord Detector.
ChordBeam tells you the chord name, inversion, and note spelling the moment you play.
Find the chord family above — read the formula, sound description and explanation.
Open the Theory Wheel to understand how the chord relates to a key and its Roman numeral function.
These are the most frequently misread chord symbols. Small differences in notation carry big differences in sound.
C is major (C, E, G). Cm is minor (C, E♭, G). One half-step difference on the third — but major sounds bright and settled while minor sounds darker and more emotional.
Cmaj7 adds the major 7th (B natural) — lush and open. C7 adds the minor 7th (B♭) — tense and bluesy, pulling toward resolution. The "maj" in Cmaj7 refers to the 7th interval, not the triad type.
Cadd9 adds the 9th (D) straight to a C major triad with no 7th. C9 is a full dominant ninth — it includes the ♭7. Cadd9 is simpler and brighter; C9 carries more harmonic tension.
C/E is a C major chord in first inversion — E sits at the bottom. Plain C has C in the bass (root position). The notes are the same; the bass perspective and the feel of the voice leading differ.
Both use the 4th/11th interval, but sus4 replaces the 3rd entirely. Add11 keeps the 3rd, making the chord more layered and complex. Sus4 sounds open and neutral; add11 sounds fuller but more dissonant.
Search, filter, hear and build any chord
Select notes to identify
The fastest way to internalise chord theory is to play a chord and see its name appear immediately. Connect your keyboard and use ChordBeam live.
Root, third, fifth — how notes stack into major and minor chords.
Same chord, different bass note — why inversions make playing smoother.
C7, Cmaj7, and Cm7 — the three essential seventh chord types.
What C/E and F/G mean and how to use them for bass movement.
How all 12 keys relate and why it matters for chord progressions.
Browse every beginner article and genre guide on ChordBeam.