Free online guitar tuner

Open the tuner in your browser and allow microphone access. Hold the guitar securely. Keep the phone about 20 to 40 centimeters from the sound hole or the 12th-fret area. Do not cover the microphone opening with your hand. If you use a computer, face the device toward the guitar and lower the speaker volume to prevent feedback.

Play the open 6th string, the lowest one, with a clean pick stroke. Let the sound sustain for 2 or 3 seconds. The tuner should show the closest note and the deviation in cents. To the left of center, the string is flat. To the right, it is sharp. The display may use different colors or arrows, but the principle is the same: find the correct note and center the indicator.

Start with the 6th string and continue to the 5th, 4th, 3rd, 2nd, and 1st. The notes in standard tuning are E, A, D, G, B, and E. If the string is flat, tighten the tuning peg in small movements of approximately one-eighth of a turn. If it is sharp, loosen it slightly and then raise it to the note. Moving up to the pitch reduces accumulated slack in the tuning peg and usually makes the adjustment more stable.

Do not turn the tuning peg quickly while the string is still vibrating. You may overshoot the note and put unnecessary tension on the strings. If the reading is close to center, use smaller movements of 1/16 turn. After each adjustment, play the string again and wait at least 1 second before deciding on the next movement.

After all six strings, play an open chord such as G, C, or D and listen for any note that seems to move. Make a second pass, because the tension of one string slightly affects its neighbors. If you installed new strings, repeat the process 2 to 5 times until the variation decreases. To check fretboard positions and note names, see the guitar fretboard note map. Then use the chord generator to test G, C, D, or other chords used in pop, country, worship music, and folk.

The online guitar tuner helps you reach the reference quickly, but the device microphone determines part of the result. At performances, make the final check at the venue after the other instruments are turned on. At home, keep the phone volume moderate and play one string at a time without brushing the others.

In standard tuning, the online chromatic tuner recognizes the six strings as E2, A2, D3, G3, B3, and E4. The letter indicates the note in the international system. The number indicates the octave. These frequencies assume equal temperament and the reference A4 = 440 Hz.

Hertz, written Hz, measures cycles per second. A string at 110.00 Hz vibrates approximately 110 times per second at its fundamental frequency. Harmonics occur above this frequency and create the guitar’s timbre. The tuner therefore needs to separate the fundamental note from the higher sounds produced with it. A very strong pick stroke can emphasize harmonics and make the initial reading more difficult.

The reference A4 = 440 Hz does not mean that the guitar’s open 5th string has a frequency of 440 Hz. The open 5th string is A2, at 110.00 Hz. A4 is two octaves higher. If a band uses A4 = 442 Hz, every note is slightly higher. In that case, adjust the equipment reference, if that option is available, to match the rest of the group. If you cannot change the reference, confirm A with the keyboard, piano, or another tuner used by the band.

You can also use a virtual piano as a comparison source. Play E2, A2, D3, G3, B3, and E4 and compare each note with the corresponding open string. This is useful when the microphone reads the correct note but you want to confirm the sound with another source. On the keyboard, locate middle C as C4; from there, count octaves to avoid comparing the string with a note of the same name in a different register.

The frequencies in the table represent the target for each open string. When you press a fret, the frequency rises. Each semitone multiplies the frequency by approximately 1.0595. At the 12th fret, the string reaches an octave above: the 6th string goes from 82.41 Hz to approximately 164.81 Hz, and the 1st goes from 329.63 Hz to approximately 659.26 Hz.

The same online tuner can recognize other instruments as long as the microphone receives a clear note. Before playing, select chromatic mode if the tool offers that option. On high-pitched instruments such as cavaquinho and ukulele, play with less force. On low instruments such as bass, let the note ring for 2 or 4 seconds before adjusting the tuning peg.

On a four-string cavaquinho, the most common tuning is D-G-B-D, from the lowest to the highest string: D4, G4, B4, and D5. The approximate frequencies are 293.66 Hz, 392.00 Hz, 493.88 Hz, and 587.33 Hz. Play each string separately, because the high register can be confused with a harmonic. Mute the other three strings with the palm or with the fingers of the hand that is not holding the pick.

In choro, pagode, and samba sessions, the cavaquinho often plays continuous rhythmic patterns. Tune before starting the groove, because repeated strong attacks can quickly reveal a loose string. If D5 seems unstable, reduce the pick force and move the microphone closer to the 12th fret without touching the instrument.

On the ukulele, standard reentrant tuning is G4, C4, E4, and A4, or G4-C4-E4-A4. The frequencies are 392.00 Hz, 261.63 Hz, 329.63 Hz, and 440.00 Hz. The G string is often higher than the C string, even though it appears first in the sequence. Some ukuleles use low G. Check the string setup before adjusting the tuning peg. If you expect a G4 reading from an instrument fitted with G3, the indicated octave will be different even though the note name is the same.

These instruments share some ear-training tuning references, but you must respect the register and construction of each one. On guitar, the 5th fret of the 6th string corresponds to the 5th string, the 5th fret of the 5th corresponds to the 4th, the 5th fret of the 4th corresponds to the 3rd, the 4th fret of the 3rd corresponds to the 2nd, and the 5th fret of the 2nd corresponds to the 1st. The exception at the fourth fret between G and B is the reference you need to remember. On cavaquinho and ukulele, do not apply this sequence automatically without checking the installed tuning.

Viola caipira has several tunings. Cebolão in E generally uses E, B, G#, E, and B in five courses, but the arrangement varies by instrument. Rio Abaixo, Boiadeira, and Cebolão in D also appear in regional repertoire. Check the string-set information and tune each course without assuming that every viola has six single strings. On a ten-string viola, each course may have two strings, and you should listen for the pair to sound together after adjustment.

A four-string electric bass uses E1, A1, D2, and G2, with frequencies of 41.20 Hz, 55.00 Hz, 73.42 Hz, and 98.00 Hz. Low notes need more time to stabilize. Play near the pickup or use a suitable microphone. Avoid playing the string with excessive force, because the attack may begin above the target and fall as the vibration loses energy. To study grooves in sertanejo or lines in forró, first confirm whether the arrangement uses standard tuning or has a lowered string.

Standard tuning covers much of popular guitar, worship music, MPB, and vocal accompaniment. Still, lowering or raising one string changes chord shapes and opens new resonance possibilities. Before playing a song, identify the tuning used in the arrangement. Do not adjust every string out of habit if only one needs to change. Write the sequence on paper, such as D-A-D-G-B-E, so you do not accidentally return to standard tuning.

In Drop D, the 6th string descends from E2 to D2, or 73.42 Hz. The sequence becomes D-A-D-G-B-E. It makes bass lines in D and fifth chords from one position easier to play. To make the change, loosen the 6th string and compare its sound with the open 4th string, which is also D but two octaves higher. Then check the other strings again. If you use very light strings, the 6th may lose tension and produce more noise when played with a strong pick.

In half-step-down tuning, every string descends one semitone: Eb-Ab-Db-Gb-Bb-Eb. The frequencies are approximately 77.78 Hz, 103.83 Hz, 138.59 Hz, 185.00 Hz, 233.08 Hz, and 311.13 Hz. Singers may choose this setup for a more comfortable range, or an arrangement may call for slightly less tension. Chord shapes remain the same, but the sounding result is one semitone below the familiar name of the open positions.

Open G uses D-G-D-G-B-D. Open D uses D-A-D-F#-A-D. These tunings leave a major chord across the open strings and appear in slide, country, blues, and viola arrangements. In Brazilian repertoire, they can suit introductions in música caipira, sertanejo country, and instrumental guitar pieces. Do not confuse the note shown by the tuner with the chord name: the tool shows the string, not the harmonic function. In Open G, for example, the open strings form G major, but an isolated note must still be tuned by its name and octave.

When changing tuning, play the strings slowly again. The change in tension moves the neck and bridge, especially on instruments with older strings. If you are studying a I-V-vi-IV progression, test it after tuning to find out whether any string has become sensitive to finger pressure. The online metronome, between 60 and 72 BPM, helps you hear the tuning while changing chords. Start at 60 BPM, play four beats per chord, and increase to 72 BPM only when the notes remain clear.

To return to standard tuning, do not rely only on muscle memory. Check E2, A2, D3, G3, B3, and E4 on the tuner. On instruments with floating bridges or systems that respond to total tension, make small alternating adjustments between the strings. If lowering one string changes the others, repeat the complete pass before beginning your practice.

A fluctuating note does not automatically indicate a guitar tuner defect. The microphone may be picking up air-conditioning, a fan, television, traffic, or conversation. Noise adds frequencies to the string’s sound and makes the indicator alternate between nearby notes. Close doors and windows, move the phone away from the air vent, and turn off continuous sound sources for 5 or 10 seconds. In an apartment, choose the gap between songs or between passing vehicles.

Play one string at a time with medium force and away from the other strings. Mute the five strings that are not being tested. If you play too hard, the note may start sharp and fall as the string loses energy. If you play too softly, the microphone will receive too little signal. A firm pick stroke followed by silence usually gives a steadier reading. Avoid touching the strings during the first second, since this shortens the sustain the tuner needs to analyze.

The device position also changes the result. Keep the microphone close but do not let it touch the instrument. On a phone, the opening is usually on the bottom. Do not cover that area with your hand. Headsets with microphones may work, but the result depends on the model and browser. The online tuner relies on the microphone available on the device and does not replace a contact pickup on a noisy stage.

If the browser asks for permission again, check the site permissions and select the correct microphone. On computers with more than one input, the system may choose the webcam microphone instead of the headset microphone. Close calling apps that are using the audio input. Then reload the page and test with a single string.

When the reading shows the correct note but the tuning returns after a few minutes, inspect the string. Old strings lose elasticity, collect dirt, and can develop deformed spots. A string that jumps between two readings, produces metallic noise, or has a visibly dented section should be replaced. After installing new strings, stretch each one carefully and tune several times. Do not force a string that already shows signs of breaking.

Also examine the nut, saddle, and tuning pegs. If the string catches in the nut, you may hear the note rise suddenly after turning the peg. If the instrument has uneven action or severe fret buzz, the reading may contain extra noise. Apply a soft pencil to the nut slot only if you know how to do so without widening the slot; otherwise, see a luthier. To develop a second reference, practice how to tune a guitar by ear and compare the beats between two nearby notes.

Make a simple three-step diagnosis: test the string in another environment, test another string with the same microphone, and observe whether the tuning peg holds its position. If the problem follows the string, replace the strings. If it occurs on every string only with the same device, check the microphone and browser. If it always appears in the same area of the neck or nut, seek a technical evaluation.

Store the guitar in an environment without abrupt temperature or humidity changes. Do not leave it in a car, near a window with direct sunlight, or next to a heater. Wood, glue, and strings respond to the climate. A padded case protects against rapid changes but cannot correct a permanently dry or humid environment. If the guitar spends hours in a trunk, wait a few minutes before tuning and playing with force.

After tuning, play for 3 to 5 minutes and check again. At band rehearsals, adjust after the initial warm-up. Tension changes when you play with a strong pick, use a capo, or switch between tunings. With a capo, check the notes at the fretted positions, because excessive pressure can make the instrument sharp. Place the capo just behind the fret, not on the metal bar, and use the least pressure that keeps the strings from buzzing.

When changing strings, carefully clean the path at the bridge and nut. Wind the string with a few firm turns around the tuning peg and secure the end. On plain, thin strings, two or three turns are usually enough; on thicker strings, make enough turns to keep the end from slipping without stacking the windings. Pull the string gently to seat it, without overdoing it. Then tune, play, stretch it again, and repeat until the variation decreases.

Create a short ritual before each rehearsal: check the 5th string, go through all six strings with the free online guitar tuner, play an open chord, and confirm the piece you are studying. If you rehearse with keyboard, bass, or a backing track, match the reference A4 = 440 Hz with the other musicians. An instrument that is tuned by itself can still sound incompatible with a recording using another reference. In a sertanejo band, for example, check the guitar after the bass and keyboard are turned on.

Use the tuner together with your ears. After the visual reading, play intervals, octaves, and slow chords. The pulsing sound between two notes reveals small differences that the indicator may hide. Practice this exercise with the metronome at different volumes. Play four measures at 60 BPM, then repeat at 72 BPM and compare whether any string begins to sound off-center as your picking hand gains force. This way, you arrive better prepared for a pagode rehearsal, a viola session, or worship music with a full band.

Avoid storing the guitar out of tune after a performance. Make a short check, release only the necessary tension if the manufacturer recommends it, and keep the instrument protected. When you remove the guitar from its case the next day, wait for the wood to adapt to the environment and repeat the reading before starting your chords.

• Open the tool in your browser, allow microphone access, and keep the page open while tuning.
• Use A4 = 440 Hz as the reference unless the band or recording specifies another standard.
• Tune the six strings in the order E2, A2, D3, G3, B3, and E4, playing one at a time.
• Make movements of approximately 1/8 turn and use 1/16-turn adjustments when the indicator is near the center.
• Reduce noise, move the phone away from the air conditioner, and mute strings that are not being tested.
• For cavaquinho, use D4-G4-B4-D5; for standard ukulele, G4-C4-E4-A4; for bass, E1-A1-D2-G2.
• In Drop D, tune the 6th string to D2, or 73.42 Hz, and keep the other five strings in standard tuning.
• Check again after playing, changing strings, using a capo, or changing the tuning.
• If the reading fluctuates, first test the environment, then the microphone position, and finally the condition of the strings.