[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"blog-post-uk-where-even-a-good-chord-finder-breaks":3,"i-fas:globe":689,"i-far:chevron-down":694,"i-far:bars":697,"i-far:gear":699,"i-far:comment":701,"blog-related-uk-where-even-a-good-chord-finder-breaks":703,"i-far:arrow-left":742,"i-far:globe":744,"i-far:circle-question":746},{"id":4,"slug":4,"title":5,"description":6,"date":7,"lastUpdated":7,"lastUpdatedKey":8,"lastUpdatedValue":9,"author":10,"tags":11,"coverImage":19,"coverImageAlt":20,"ogImage":21,"series":22,"seriesOrder":22,"readMinutes":23,"path":24,"href":25,"__fallback":26,"body":27,"tocLinks":673},"where-even-a-good-chord-finder-breaks","Where Even a Good Chord Finder Breaks","Every chord finder nails an open C. Push past beginner shapes into altered dominants and slash chords and some return \"no chord found.\" Here is where they break.","2026-06-30","knowledgeBase.relativeTime.weeksAgo",7,"Kyle",[12,13,14,15,16,17,18],"fretscape","guitar","reverse-chord-lookup","chord-identifier","chord-naming","music-theory","product-building","\u002Fimages\u002Fblog\u002Fwhere-even-a-good-chord-finder-breaks-hero.webp","A single taut length of old natural rope straining over the edge of a worn wooden block, its fibres fraying and starting to part at the point of greatest tension, a small brass guitar tag tied to it, warm golden light","\u002Fimages\u002Fblog\u002Fwhere-even-a-good-chord-finder-breaks-hero.jpg",null,6,"\u002Fwhere-even-a-good-chord-finder-breaks","\u002Fblog\u002Fwhere-even-a-good-chord-finder-breaks",true,{"type":28,"value":29,"toc":670},"minimark",[30,34,40,43,46,73,78,81,89,100,107,114,117,121,124,127,169,176,179,183,189,197,215,221,233,238,261,268,272,275,280,300,305,328,334,350,357,361,368,373,400,424,437,444,448,454,468,476,483,487,490,497,500,507,510,514,519,525,529,532,536,542,546,553,555,559,562,651,654],[31,32,33],"p",{},"I played an altered dominant - the tense, bluesy chord that ends a hundred jazz tunes - and tapped it into a chord finder.",[31,35,36],{},[37,38,39],"em",{},"\"No chord found.\"",[31,41,42],{},"There's a chord. It has a name. I was holding it. The tool just couldn't see it, because the voicing does the most ordinary thing an altered dominant does: it bends a couple of notes and drops the fifth.",[31,44,45],{},"Every chord finder looks good on an open C. The real question is what happens the moment you leave a note out or bend one - the way actual players actually voice chords. That's where the field comes apart, and that's what this post is about.",[47,48,49],"blockquote",{},[31,50,51,55,56,61,62,65,66,72],{},[52,53,54],"strong",{},"TL;DR","\nA chord finder that aces beginner shapes can still go silent - or quietly wrong - on the chords you reach the moment you play past open-position triads: altered dominants, slash chords with real extensions, Lydian colours, omitted-tone voicings. This post is the deliberate zoom-in on that hard tail. It's a companion to ",[57,58,60],"a",{"href":59},"\u002Fblog\u002Fwhat-makes-a-good-chord-identifier","the fair, scored test"," - the chords that surfaced while I stress-tested my own lookup, with theory as the referee and every shape published so you can re-run it. Not \"every other tool is wrong.\" Three honest degrees of breaking, the gentlest of which is just ",[37,63,64],{},"less explicit"," than ",[57,67,71],{"href":68,"rel":69},"https:\u002F\u002Ffretscape.com\u002Fabout",[70],"nofollow","Fretscape",", not wrong.",[74,75,77],"h2",{"id":76},"first-the-honest-framing","First, the honest framing",[31,79,80],{},"These are hard cases, and the honest thing is to tell you where they came from. I didn't assemble a reel of competitor failures to win an argument. They came out of building the thing.",[31,82,83,84,88],{},"Before ",[57,85,87],{"href":86},"\u002Fchord-identifier","Fretscape's chord identifier"," shipped, I stress-tested it against something like seven hundred voicings - deliberately awkward ones, the kind chosen to break a lookup - checking every result, changing the engine, checking again, until the hard ones came out right. Cross-referencing other tools was just part of that: when my answer and theirs disagreed, I wanted to know who was right, and why. The examples below surfaced in that process. I noticed the field stumbling on them while I was busy trying to stop my own tool from stumbling too.",[31,90,91,92,95,96,99],{},"That's also why this is the supplement, not the proof. In ",[57,93,94],{"href":59},"the main post"," I ran the balanced version: a set of 47 voicings I didn't choose, scored by two independent blind judges who didn't know which tool was mine. ",[52,97,98],{},"This isn't that."," This is the zoom-in on the chords that separate the field - hard on purpose, because hard is where the separating happens.",[31,101,102,103,106],{},"But hard doesn't mean obscure. Not one of these is a freak. They're altered dominants, slash chords, Lydian major-sevenths - bread-and-butter the moment you play anything past a campfire chord. That's the actual point: the tool you use is probably fine for beginner shapes and ",[52,104,105],{},"silently wrong"," exactly where playing gets interesting.",[31,108,109,110,113],{},"So I'll do three things on every example. State the notes. State what theory says it is. Then let you check. Don't trust me - trust theory, which has been refereeing this since long before any of us shipped a chord finder. And I won't name a competitor anywhere. ",[37,111,112],{},"\"One tool,\" \"another,\" \"a couple.\""," The behaviour is the point, not the brand.",[31,115,116],{},"Seven hundred chords is a lot of staring at note names. These are the handful where the gap was clearest - I stopped noting them down somewhere around fifty. Not because I ran out. Because I had enough.",[74,118,120],{"id":119},"the-bridge-the-fair-test-already-cracked-here","The bridge: the fair test already cracked here",[31,122,123],{},"I don't have to assert that the field breaks on the hard tail. It already did, in public, under blind conditions.",[31,125,126],{},"On the main test's hardest cases, the two judges - scoring anonymised tools they couldn't identify - documented exactly this fracture, in their own words:",[128,129,130,142,149,156,163],"ul",{},[131,132,133,134,137,138,141],"li",{},"one tool ",[52,135,136],{},"refused around eleven textbook-nameable voicings",", returning ",[37,139,140],{},"\"no chord found\""," on ordinary omitted-tone dominants;",[131,143,144,145,148],{},"one buried answers in a ",[52,146,147],{},"26-to-62-name unranked wall",", leading with a rootless reading over the obvious chord;",[131,150,151,152,155],{},"one ",[52,153,154],{},"inferred notes that weren't played"," to complete a fragment;",[131,157,158,159,162],{},"even the strong runners-up reached for ",[52,160,161],{},"contorted enharmonic spellings"," on the hard ones;",[131,164,165,166],{},"and one tool - revealed only afterwards as Fretscape - scored a ",[52,167,168],{},"perfect 94 out of 94, from both judges independently.",[31,170,171,172,175],{},"That's two referees who'd never heard of Fretscape, finding the gap blind. The full transcripts are linked at the bottom. And that was the ",[37,173,174],{},"tame"," set.",[31,177,178],{},"Here's the hard tail.",[74,180,182],{"id":181},"degree-one-no-chord-found-when-a-tool-just-gives-up","Degree one: \"no chord found\" - when a tool just gives up",[31,184,185,186,188],{},"The most damning failure. A legitimate guitar voicing goes in, and nothing comes back. Each of these three drew an outright ",[37,187,140],{}," from at least one tool - and they're standard altered and extended shapes, not puzzles.",[190,191],"chord-diagram",{"display-mode":192,"label":193,"name":194,"voicing":195,"accidentals":196},"notes","E, G#, D, G, C - the altered-dominant crunch. The 5th is raised, the 9th is raised.","E7#5#9","0-7-6-7-8-8","sharp",[31,198,199,203,204,206,207,210,211,214],{},[200,201,202],"code",{},"0 7 6 7 8 8"," is ",[52,205,194],{}," - E, G#, D, G, C. A classic altered dominant: the dominant shell, plus both altered colours, #5 and #9. The honest name is short and useful. One tool returned ",[52,208,209],{},"no chord at all",". Another called it an augmented chord and quietly understated the dominant seventh. A third produced a contorted ",[37,212,213],{},"minor","-chord spelling that treats the raised 9th as if the whole chord were minor - reading the tension as a mistake rather than the point.",[190,216],{"display-mode":192,"label":217,"name":218,"voicing":219,"notes":220},"C, E, B♭, D♭, G# - root, 3rd, ♭7, ♭9, #5. Unambiguously a dominant.","C7#5b9","x-3-2-3-2-4","x,C,E,Bb,Db,G#",[31,222,223,203,226,228,229,232],{},[200,224,225],{},"x 3 2 3 2 4",[52,227,218],{}," - C, E, B♭, D♭ and an altered fifth. Root, third, flat-seventh, flat-ninth: every ingredient of an altered dominant, nothing ambiguous about the family. One tool again returned ",[52,230,231],{},"no chord",". Another gave an augmented spelling that dropped the dominant seventh - the one note that makes it a dominant in the first place.",[190,234],{"display-mode":192,"label":235,"name":236,"voicing":237,"accidentals":196},"G, B, F#, C# - a Lydian major-7 colour with no natural 5th in the voicing.","Gmaj7#11","3-x-4-4-2-x",[31,239,240,203,243,245,246,249,250,252,253,256,257,260],{},[200,241,242],{},"3 x 4 4 2 x",[52,244,236],{}," - G, F#, B, C#, with no natural fifth played (strictly, ",[200,247,248],{},"Gmaj7#11(omit5)","). A bright Lydian major-seventh sound. One tool returned ",[52,251,231],{},". Another spelled the C# as a flat-fifth - ",[200,254,255],{},"Gmaj7b5"," - which is pitch-equivalent, but reads a deliberate Lydian colour as a ",[37,258,259],{},"damaged"," major chord. Same notes, completely different story about what you're playing.",[47,262,263],{},[31,264,265],{},[37,266,267],{},"A real chord went in, and the tool returned nothing. That's not restraint. That's a blind spot where the music gets interesting.",[74,269,271],{"id":270},"degree-two-a-related-name-but-not-the-useful-one","Degree two: a related name, but not the useful one",[31,273,274],{},"Subtler, and more common. These tools don't fail - they answer a slightly different question. They re-root to the bass, or promote an upper-structure reading over the chord you're actually holding. Not wrong. Just the wrong headline.",[190,276],{"display-mode":192,"label":277,"name":278,"voicing":279,"accidentals":196},"F#, D, A, E - a D add9 with F# in the bass. The open high E is a real 9th.","Dadd9\u002FF#","2-x-0-2-3-0",[31,281,282,203,285,287,288,291,292,295,296,299],{},[200,283,284],{},"2 x 0 2 3 0",[52,286,278],{}," - a D add-nine chord with F# in the bass, the open high E ringing as a genuine added ninth. Several tools ",[52,289,290],{},"re-rooted it to an F# minor chord"," - things like ",[200,293,294],{},"F#m7♭13"," or ",[200,297,298],{},"F#m7#5"," - purely because F# is the lowest note. They built a complicated F# chord rather than hearing a simple D chord over an F# bass. This is the clearest slash-with-real-extension case in the set: the bass note is not always the root, and a good tool knows the difference.",[190,301],{"display-mode":192,"label":302,"name":303,"voicing":304,"accidentals":196},"C, E, A, F# - a complete A minor 6, inverted with C in the bass.","Am6\u002FC","x-3-2-2-1-2",[31,306,307,203,310,312,313,316,317,320,321,324,325,327],{},[200,308,309],{},"x 3 2 2 1 2",[52,311,303],{}," - a complete A minor-six chord, inverted so the third sits in the bass. The same notes can be respelled in stranger ways - ",[200,314,315],{},"C6#11(no5)",", ",[200,318,319],{},"F#m7♭5\u002FC",", a rootless ",[200,322,323],{},"D9"," - and a couple of tools led with exactly those. None of them is an impossible match. But none is the recognisable object a guitarist is actually holding. In several of these the clean ",[200,326,303],{}," was sitting right there in the list - just not at the top, which is its own kind of failure.",[190,329],{"display-mode":192,"label":330,"name":331,"voicing":332,"accidentals":333},"C, F, B♭, D, A - a functional C dominant-sus sound: 9, sus4 and 13.","C9sus4(13)","x-3-3-3-3-5","flat",[31,335,336,203,339,341,342,345,346,349],{},[200,337,338],{},"x 3 3 3 3 5",[52,340,331],{}," - a functional C dominant-sus voicing. A couple of tools promoted an upper-structure slash, ",[200,343,344],{},"B♭maj9\u002FC",", to the headline. It's pitch-related and it's not nonsense - but as the ",[37,347,348],{},"primary"," name it's close to useless, because it hides the dominant-sus function that's the whole reason you'd play the chord.",[47,351,352],{},[31,353,354],{},[37,355,356],{},"The hardest part of naming a chord was never finding a label that fits. Dozens fit. It's choosing the one you'd actually write on a chart.",[74,358,360],{"id":359},"degree-three-acceptable-shorthand-were-just-more-explicit","Degree three: acceptable shorthand - we're just more explicit",[31,362,363,364,367],{},"This is the bucket that earns the other two. Here the other tools are ",[52,365,366],{},"not wrong",". They use valid, common shorthand. Fretscape's only edge is precision - and I'm going to say that plainly, because pretending these are wins would poison the cases where the gap is real.",[190,369],{"display-mode":192,"label":370,"name":371,"voicing":372,"accidentals":333},"D, F, C, G - a Dm7 with the 11 added. No 9th is played.","Dm7add11","x-5-3-5-6-3",[31,374,375,203,378,380,381,384,385,388,389,392,393,395,396,399],{},[200,376,377],{},"x 5 3 5 6 3",[52,379,371],{}," (strictly ",[200,382,383],{},"Dm7add11(no5)","). Most tools call this ",[52,386,387],{},"Dm11",", and that's perfectly reasonable shorthand. The only quibble: a full Dm11 implies the ninth, E, which ",[52,390,391],{},"isn't"," in the voicing. ",[200,394,371],{}," says exactly what's there and nothing that isn't. And to be honest about it - ",[200,397,398],{},"G7sus4\u002FD"," is also a completely valid reading of the same notes; Fretscape returns that one too, just second. This isn't an \"everyone else is wrong\" case. It's a \"we're a notch more literal\" case.",[31,401,402,403,405,406,408,409,412,413,316,416,419,420,423],{},"The altered dominants from Degree one belong here too, in part. The same ",[200,404,194],{}," and ",[200,407,218],{}," also drew ",[52,410,411],{},"valid"," jazz alternates from some tools - ",[200,414,415],{},"E7(#9,♭13)",[200,417,418],{},"C7(♭9,♭13)",". Those aren't wrong; the C in that voicing can honestly be heard as a ♭13 rather than a #5. The point of Degree one was never that the alternate spelling is wrong. It's that on the ",[37,421,422],{},"very same chord",", some tools found a clean name and others found nothing at all. That spread, on one voicing, is the whole story.",[31,425,426,427,295,430,433,434,436],{},"And the sus voicing: ",[200,428,429],{},"C13sus4",[200,431,432],{},"Csus13"," instead of the more explicit ",[200,435,331],{},". Valid shorthand against a fuller content label. A taste difference, not a correctness one.",[47,438,439],{},[31,440,441],{},[37,442,443],{},"I'm not going to tell you the other tools are wrong. On the easy chords they're fine, and even on these, some land a perfectly valid name. The difference is what they reach for first - and whether they reach for anything at all.",[74,445,447],{"id":446},"the-pattern-underneath","The pattern underneath",[31,449,450,451],{},"Strip the three degrees back and they're degrees of the same single thing: a good identifier's one real job is ",[52,452,453],{},"choosing the most useful name first.",[31,455,456,457,460,461,464,465,467],{},"Degree three does it, just less precisely. Degree two leads with a less useful relative. Degree one refuses to do it at all. And under the worst of them sits the exact fault from the main post - a tool that either ",[52,458,459],{},"fakes knowledge"," (invents a note, walls you with maybes) or ",[52,462,463],{},"refuses knowledge"," it should have (",[37,466,140],{},"). A good identifier lives in the honest middle: it names what's defensible, says what's missing, and puts the useful answer on top.",[31,469,470,471,475],{},"It's the same call Fretscape keeps making everywhere else - ",[57,472,474],{"href":473},"\u002Fblog\u002Fthe-wrong-name-ranked-first","the honest answer over the impressive-looking one",".",[47,477,478],{},[31,479,480],{},[37,481,482],{},"The hard part was never finding a name that fits. It's choosing the one you'd actually write on a chart - and being willing to say \"this, with the fifth left out\" instead of either a wall or a shrug.",[74,484,486],{"id":485},"so-go-break-your-own-tool","So go break your own tool",[31,488,489],{},"The takeaway here isn't \"Fretscape wins.\" It's that you now know what failure actually looks like - not on an open C, where everything works, but on the chords you reach the moment you play something interesting.",[31,491,492,493,496],{},"So go test your own. Take the tensest, sparsest, most awkward voicing you know - the altered dominant, the slash chord with a real extension, the shape with the fifth left out - and tap it into whatever you use. Does it name it? Does it lead with something you'd recognise? Or does it give up? Then try the same shape in Fretscape's ",[57,494,495],{"href":86},"chord identifier"," and compare.",[31,498,499],{},"One honest caveat, the same as the main post: because I've published the shapes, a determined reader could re-run them and work out which anonymous tool was which. Keeping them unnamed is my editorial choice, not a guarantee - so I'd rather say so than pretend otherwise.",[47,501,502],{},[31,503,504],{},[37,505,506],{},"Technically correct was never the hard part. Useful is.",[508,509],"hr",{},[74,511,513],{"id":512},"a-few-questions-this-raises","A few questions this raises",[515,516,518],"h3",{"id":517},"arent-you-just-cherry-picking-chords-your-tool-happens-to-win","Aren't you just cherry-picking chords your tool happens to win?",[31,520,521,522,524],{},"Not to win - to build. These chords came out of stress-testing my own lookup against around seven hundred voicings before it shipped, hardening it until the hard ones came out right; I cross-referenced other tools as I went. So yes, they're selected for being hard - but for hardening my engine, not for flattering it. The representative proof is still ",[57,523,94],{"href":59},": a set I didn't pick, graded by judges who didn't know which tool was mine. The shapes here are all published, the theory is checkable on a fretboard, and the honest Degree-three cases are in precisely so the harder ones are believable.",[515,526,528],{"id":527},"is-no-chord-found-ever-the-right-answer","Is \"no chord found\" ever the right answer?",[31,530,531],{},"Sometimes - when a voicing genuinely has no defensible name, an honest blank beats a confabulated label. But none of the Degree-one chords are that. They're standard altered and extended voicings with clear, compact names. Returning nothing there isn't restraint; it's a gap in what the tool can model, usually around an omitted fifth or an enharmonic spelling it couldn't reconcile.",[515,533,535],{"id":534},"why-does-the-bass-note-matter-so-much","Why does the bass note matter so much?",[31,537,538,539,541],{},"Because on guitar the lowest note does most of the work of telling your ear what it's hearing. ",[200,540,278],{}," and \"some F# minor chord\" contain the same pitches - but one hears a D chord over an F# bass, the way you're actually playing it, and the other invents a complicated F# chord just because F# sits lowest. A good tool defaults to the bass for rooting and lets you override it.",[515,543,545],{"id":544},"wheres-the-scored-proof-these-tools-really-differ","Where's the scored proof these tools really differ?",[31,547,548,549,552],{},"In the companion post. Seven tools, 47 cases, two independent blind judges scoring against theory, full transcripts published. ",[57,550,551],{"href":59},"Read that one first"," if you want the evidence; this one is the teaching tour of the edges.",[508,554],{},[74,556,558],{"id":557},"appendix-the-shapes-so-you-can-re-run","Appendix: the shapes, so you can re-run",[31,560,561],{},"Every voicing above, low string to high - paste them into any tool and check against theory yourself.",[563,564,565,578],"table",{},[566,567,568],"thead",{},[569,570,571,575],"tr",{},[572,573,574],"th",{},"Shape",[572,576,577],{},"What it is",[579,580,581,591,600,612,621,630,639],"tbody",{},[569,582,583,588],{},[584,585,586],"td",{},[200,587,202],{},[584,589,590],{},"E7#5#9 (altered dominant)",[569,592,593,597],{},[584,594,595],{},[200,596,225],{},[584,598,599],{},"C7#5b9 (altered dominant)",[569,601,602,606],{},[584,603,604],{},[200,605,242],{},[584,607,608,609,611],{},"Gmaj7#11 — ",[200,610,248],{}," (Lydian colour, no 5th)",[569,613,614,618],{},[584,615,616],{},[200,617,284],{},[584,619,620],{},"Dadd9\u002FF# (slash with a real added 9th)",[569,622,623,627],{},[584,624,625],{},[200,626,309],{},[584,628,629],{},"Am6\u002FC (minor-6 inversion)",[569,631,632,636],{},[584,633,634],{},[200,635,338],{},[584,637,638],{},"C9sus4(13) (functional dominant-sus)",[569,640,641,645],{},[584,642,643],{},[200,644,377],{},[584,646,647,648,650],{},"Dm7add11 — ",[200,649,383],{}," (precise vs the broad Dm11)",[31,652,653],{},"And the two blind-judge transcripts from the fair test referenced above, shared exactly as they happened:",[128,655,656,663],{},[131,657,658,659],{},"Claude - ",[57,660,661],{"href":661,"rel":662},"https:\u002F\u002Fclaude.ai\u002Fshare\u002F05d29842-1716-476b-a78a-a3339ff71c74",[70],[131,664,665,666],{},"ChatGPT - ",[57,667,668],{"href":668,"rel":669},"https:\u002F\u002Fchatgpt.com\u002Fshare\u002F6a438d0b-3984-83eb-b9ae-8bef0af712f3",[70],{"title":671,"searchDepth":672,"depth":672,"links":673},"",2,[674,675,676,677,678,679,680,681,688],{"id":76,"depth":672,"text":77},{"id":119,"depth":672,"text":120},{"id":181,"depth":672,"text":182},{"id":270,"depth":672,"text":271},{"id":359,"depth":672,"text":360},{"id":446,"depth":672,"text":447},{"id":485,"depth":672,"text":486},{"id":512,"depth":672,"text":513,"children":682},[683,685,686,687],{"id":517,"depth":684,"text":518},3,{"id":527,"depth":684,"text":528},{"id":534,"depth":684,"text":535},{"id":544,"depth":684,"text":545},{"id":557,"depth":672,"text":558},{"left":690,"top":690,"width":691,"height":691,"rotate":690,"vFlip":692,"hFlip":692,"body":693},0,512,false,"\u003Cpath fill=\"currentColor\" d=\"M351.9 280l-190.9 0c2.9 64.5 17.2 123.9 37.5 167.4 11.4 24.5 23.7 41.8 35.1 52.4 11.2 10.5 18.9 12.2 22.9 12.2s11.7-1.7 22.9-12.2c11.4-10.6 23.7-28 35.1-52.4 20.3-43.5 34.6-102.9 37.5-167.4zM160.9 232l190.9 0C349 167.5 334.7 108.1 314.4 64.6 303 40.2 290.7 22.8 279.3 12.2 268.1 1.7 260.4 0 256.4 0s-11.7 1.7-22.9 12.2c-11.4 10.6-23.7 28-35.1 52.4-20.3 43.5-34.6 102.9-37.5 167.4zm-48 0C116.4 146.4 138.5 66.9 170.8 14.7 78.7 47.3 10.9 131.2 1.5 232l111.4 0zM1.5 280c9.4 100.8 77.2 184.7 169.3 217.3-32.3-52.2-54.4-131.7-57.9-217.3L1.5 280zm398.4 0c-3.5 85.6-25.6 165.1-57.9 217.3 92.1-32.7 159.9-116.5 169.3-217.3l-111.4 0zm111.4-48C501.9 131.2 434.1 47.3 342 14.7 374.3 66.9 396.4 146.4 399.9 232l111.4 0z\"\u002F>",{"left":690,"top":690,"width":695,"height":691,"rotate":690,"vFlip":692,"hFlip":692,"body":696},448,"\u003Cpath fill=\"currentColor\" d=\"M207.5 409c9.4 9.4 24.6 9.4 33.9 0l200-200c9.4-9.4 9.4-24.6 0-33.9s-24.6-9.4-33.9 0l-183 183-183-183c-9.4-9.4-24.6-9.4-33.9 0s-9.4 24.6 0 33.9l200 200z\"\u002F>",{"left":690,"top":690,"width":695,"height":691,"rotate":690,"vFlip":692,"hFlip":692,"body":698},"\u003Cpath fill=\"currentColor\" d=\"M0 88C0 74.7 10.7 64 24 64l400 0c13.3 0 24 10.7 24 24s-10.7 24-24 24L24 112C10.7 112 0 101.3 0 88zM0 256c0-13.3 10.7-24 24-24l400 0c13.3 0 24 10.7 24 24s-10.7 24-24 24L24 280c-13.3 0-24-10.7-24-24zM448 424c0 13.3-10.7 24-24 24L24 448c-13.3 0-24-10.7-24-24s10.7-24 24-24l400 0c13.3 0 24 10.7 24 24z\"\u002F>",{"left":690,"top":690,"width":691,"height":691,"rotate":690,"vFlip":692,"hFlip":692,"body":700},"\u003Cpath fill=\"currentColor\" d=\"M205.5 92.7l13.7-60.7 73.6 0 13.7 60.7c1.7 7.4 6.8 13.6 13.8 16.7 10.8 4.8 21 10.7 30.4 17.6 6.1 4.5 14.1 5.9 21.4 3.6l59.5-18.5 36.8 63.8-45.8 42.3c-5.6 5.2-8.4 12.7-7.6 20.2 1.3 11.5 1.3 23.7 0 35.2-.8 7.6 2 15.1 7.6 20.2l45.8 42.3-36.8 63.8-59.5-18.5c-7.3-2.3-15.2-.9-21.4 3.6-9.4 6.9-19.6 12.9-30.4 17.6-7 3.1-12.1 9.3-13.8 16.7l-13.7 60.7-73.6 0-13.7-60.7c-1.7-7.4-6.8-13.6-13.8-16.7-10.8-4.8-21-10.7-30.4-17.6-6.1-4.5-14.1-5.9-21.4-3.6l-59.5 18.5-36.8-63.8 45.8-42.3c5.6-5.2 8.4-12.7 7.6-20.2-1.3-11.5-1.3-23.7 0-35.2 .8-7.6-2-15.1-7.6-20.2l-45.8-42.3 36.8-63.8 59.5 18.5c7.3 2.3 15.2 .9 21.4-3.6 9.4-6.9 19.6-12.9 30.4-17.6 7-3.1 12.1-9.3 13.8-16.7zM212.8-16c-18.7 0-34.9 13-39 31.2L161.2 70.8c-6.3 3.2-12.3 6.7-18.2 10.5L88.6 64.4c-17.9-5.6-37.2 2-46.5 18.2L-1.1 157.4c-9.3 16.2-6.2 36.7 7.5 49.4l41.9 38.7c-.3 6.9-.3 14 0 21L6.4 305.2c-13.7 12.7-16.9 33.2-7.5 49.4l43.2 74.8c9.3 16.2 28.7 23.7 46.5 18.2l54.5-16.9c5.9 3.8 11.9 7.3 18.2 10.5l12.6 55.6c4.1 18.2 20.3 31.2 39 31.2l86.4 0c18.7 0 34.9-13 39-31.2l12.6-55.6c6.3-3.2 12.3-6.7 18.2-10.5l54.5 16.9c17.9 5.6 37.2-2 46.5-18.2l43.2-74.8c9.3-16.2 6.2-36.7-7.5-49.4l-41.9-38.7c.3-6.9 .3-14 0-21l41.9-38.7c13.7-12.7 16.8-33.2 7.5-49.4L470 82.6c-9.4-16.2-28.7-23.7-46.5-18.2L369 81.3c-5.9-3.8-11.9-7.3-18.2-10.5L338.3 15.2C334.1-3 317.9-16 299.2-16l-86.4 0zM304 256a48 48 0 1 1 -96 0 48 48 0 1 1 96 0zm-48-96a96 96 0 1 0 0 192 96 96 0 1 0 0-192z\"\u002F>",{"left":690,"top":690,"width":691,"height":691,"rotate":690,"vFlip":692,"hFlip":692,"body":702},"\u003Cpath fill=\"currentColor\" d=\"M51.9 384.9C19.3 344.6 0 294.4 0 240 0 107.5 114.6 0 256 0S512 107.5 512 240 397.4 480 256 480c-36.5 0-71.2-7.2-102.6-20L37 509.9c-3.7 1.6-7.5 2.1-11.5 2.1-14.1 0-25.5-11.4-25.5-25.5 0-4.3 1.1-8.5 3.1-12.2l48.8-89.4zm37.3-30.2c12.2 15.1 14.1 36.1 4.8 53.2l-18 33.1 58.5-25.1c11.8-5.1 25.2-5.2 37.1-.3 25.7 10.5 54.2 16.4 84.3 16.4 117.8 0 208-88.8 208-192S373.8 48 256 48 48 136.8 48 240c0 42.8 15.1 82.4 41.2 114.7z\"\u002F>",[704,715,731],{"id":705,"slug":705,"title":706,"description":707,"date":708,"lastUpdated":708,"lastUpdatedKey":8,"lastUpdatedValue":9,"author":10,"tags":709,"coverImage":710,"coverImageAlt":711,"ogImage":712,"series":22,"seriesOrder":22,"readMinutes":713,"path":714,"href":59,"__fallback":26},"what-makes-a-good-chord-identifier","What Makes a Good Chord Identifier?","A rubric for judging any reverse chord lookup - check it yourself in 30 seconds. Plus a blind test where two independent AIs scored seven tools against theory.","2026-06-29",[12,13,14,15,16,17,18],"\u002Fimages\u002Fblog\u002Fwhat-makes-a-good-chord-identifier-hero.webp","A brass wax seal resting beside a single blob of warm red sealing wax freshly stamped with a small guitar emblem on aged paper, several blank unsealed sheets nearby, golden light","\u002Fimages\u002Fblog\u002Fwhat-makes-a-good-chord-identifier-hero.jpg",8,"\u002Fwhat-makes-a-good-chord-identifier",{"id":716,"slug":716,"title":717,"description":718,"date":719,"lastUpdated":719,"lastUpdatedKey":720,"lastUpdatedValue":672,"author":10,"tags":721,"coverImage":724,"coverImageAlt":725,"ogImage":726,"series":723,"seriesOrder":727,"readMinutes":728,"path":729,"href":730,"__fallback":26},"what-key-is-this-progression-actually-in","What Key Is This Progression Actually In?","Most key finders match scales and give you a confident-looking answer. Fretscape asks what the progression actually suggests - and tells you how sure it is.","2026-06-09","knowledgeBase.relativeTime.monthsAgo",[12,13,722,17,18,723],"key-detection","how-fretscape-thinks","\u002Fimages\u002Fblog\u002Fwhat-key-is-this-progression-actually-in-hero.webp","A vintage brass compass resting on aged sheet music, its needle settling toward a marked point, with a faint pencilled question mark nearby","\u002Fimages\u002Fblog\u002Fwhat-key-is-this-progression-actually-in-hero.jpg",5,4,"\u002Fwhat-key-is-this-progression-actually-in","\u002Fblog\u002Fwhat-key-is-this-progression-actually-in",{"id":732,"slug":732,"title":733,"description":734,"date":735,"lastUpdated":736,"lastUpdatedKey":720,"lastUpdatedValue":672,"author":10,"tags":737,"coverImage":738,"coverImageAlt":739,"ogImage":740,"series":723,"seriesOrder":728,"readMinutes":23,"path":741,"href":473,"__fallback":26},"the-wrong-name-ranked-first","The Wrong Name, Ranked First","Hand a reverse chord lookup three notes and it leads with C6(no3) over the obvious Am7 - then warns about its own answer. Lookup isn't the problem. Ranking is.","2026-06-08","2026-06-10",[12,13,14,18,16,723],"\u002Fimages\u002Fblog\u002Fthe-wrong-name-ranked-first-hero.webp","A row of blank kraft-paper tags hanging from twine on wooden pegs against dark rustic wood, one tag embossed with a small acoustic guitar, warm light","\u002Fimages\u002Fblog\u002Fthe-wrong-name-ranked-first-hero.jpg","\u002Fthe-wrong-name-ranked-first",{"left":690,"top":690,"width":691,"height":691,"rotate":690,"vFlip":692,"hFlip":692,"body":743},"\u003Cpath fill=\"currentColor\" d=\"M7 239c-9.4 9.4-9.4 24.6 0 33.9L175 441c9.4 9.4 24.6 9.4 33.9 0s9.4-24.6 0-33.9L81.9 280 488 280c13.3 0 24-10.7 24-24s-10.7-24-24-24L81.9 232 209 105c9.4-9.4 9.4-24.6 0-33.9s-24.6-9.4-33.9 0L7 239z\"\u002F>",{"left":690,"top":690,"width":691,"height":691,"rotate":690,"vFlip":692,"hFlip":692,"body":745},"\u003Cpath fill=\"currentColor\" d=\"M303.2 413c-21.5 43.7-41.4 51-47.2 51s-25.7-7.3-47.2-51c-17-34.5-29.2-81.6-32.1-133l158.6 0c-3 51.5-15.2 98.6-32.1 133zm32.1-181l-158.6 0c3-51.5 15.2-98.6 32.1-133 21.5-43.7 41.4-51 47.2-51s25.7 7.3 47.2 51c17 34.5 29.2 81.6 32.1 133zm48.1 48l79.2 0c-8.6 74.6-56.7 137.3-122.8 166.4 24-42.8 40.3-102.4 43.6-166.4zm79.2-48l-79.2 0c-3.3-64-19.6-123.6-43.6-166.4 66.1 29.2 114.2 91.8 122.8 166.4zm-334 0l-79.2 0c8.6-74.6 56.7-137.3 122.8-166.4-24 42.8-40.3 102.4-43.6 166.4zM49.4 280l79.2 0c3.3 64 19.6 123.6 43.6 166.4-66.1-29.2-114.2-91.8-122.8-166.4zM256 512a256 256 0 1 0 0-512 256 256 0 1 0 0 512z\"\u002F>",{"left":690,"top":690,"width":691,"height":691,"rotate":690,"vFlip":692,"hFlip":692,"body":747},"\u003Cpath fill=\"currentColor\" d=\"M464 256a208 208 0 1 0 -416 0 208 208 0 1 0 416 0zM0 256a256 256 0 1 1 512 0 256 256 0 1 1 -512 0zm256-80c-17.7 0-32 14.3-32 32 0 13.3-10.7 24-24 24s-24-10.7-24-24c0-44.2 35.8-80 80-80s80 35.8 80 80c0 47.2-36 67.2-56 74.5l0 3.8c0 13.3-10.7 24-24 24s-24-10.7-24-24l0-8.1c0-20.5 14.8-35.2 30.1-40.2 6.4-2.1 13.2-5.5 18.2-10.3 4.3-4.2 7.7-10 7.7-19.6 0-17.7-14.3-32-32-32zM224 368a32 32 0 1 1 64 0 32 32 0 1 1 -64 0z\"\u002F>"]