My Chord Finder
Chord Transposition Chart
| Original root | Target root |
|---|
Look up the root, then keep its suffix: m, 7, maj7 and other chord qualities stay attached. For a slash chord, look up the bass after the slash as well.
Two columns, one interval
Choose the key you are leaving and the key you want to reach. Every row uses that same pitch distance. The table includes chromatic roots outside either key, so a borrowed chord still has a lookup row. It is a root-name map, not a list of chords that belong to a major scale.
For a C-to-D move, find F in the original column and G beside it: Fmaj7 becomes Gmaj7. Find B separately when a bass note is written after a slash; G/B becomes A/C♯. Converting only G would leave the bass in the old key.
Check a row before using the whole sheet
Use C → D as a quick check: C becomes D, E becomes F♯, and B becomes C♯. Reversing the key selectors must return each pitch to its starting point. A shift that crosses B continues at C; it does not stop at the end of the alphabet.
A♯ and B♭ identify the same pitch class. The spelling switch chooses a consistent chromatic naming scheme; it does not promise full key-signature spelling such as E♯ in F♯ major. This map does not assign octaves, rewrite a melody, or change a chord from major to minor.
Take this exact comparison with you
Copy table produces tab-separated columns for a spreadsheet. Print table keeps the current mapping and its root-lookup note. Download SVG saves a scalable image of the selected comparison for offline reading or printing. No account is needed.
For a complete lyric-and-chord sheet, use Transpose chords. To relate written roots to fretted shapes and capo positions, see transpose guitar chords.
Questions about the chart
Can I use the same table for minor chords?
Yes. A root moves by the selected interval whether its chord is major, minor or extended. Keep the original suffix on the new root. Selecting a target root does not turn a minor-key song into a major-key song.
Why do the upward and downward shifts give the same names?
Pitch-class names repeat after twelve semitones. Up two and down ten therefore reach the same names, although an actual played note can land in a different octave.
Does a capo change which column I read?
This comparison describes sounding chord names. A capo raises the shapes you hold by its fret number; use a separate shape-to-sound reference when writing instructions for the guitarist.