Auto-generated chord chart from YouTube analysis
Tutti is a free tool that analyzes a YouTube link or audio/video file to detect the key, tempo (BPM), time signature and chord progression, then builds guitar chord charts and TAB. Results are shown with a playback cursor so you can play along.
A chord progression lists the chords in the order they change. At each chord name (e.g. G, Em, C), fret that chord and strum in time.
Guitar chord chart for NewJeans (뉴진스) 'How Sweet' Official MV. Tutti analyzed the YouTube audio to extract key C# Major, 125 BPM. a progression of 15 chords. Check the progression, each chord's notes and practice tips, then play along with the cursor in the Tutti app.
“NewJeans (뉴진스) 'How Sweet' Official MV” runs at 125 BPM in 4/4, in C# Major. The chart spans 113 bars and uses 15 distinct chords, changing roughly every 3.0 seconds.
Part A, the most repeated section, loops C#maj7 → G# → C#m7 → C#m7 → C#7 → Bmaj7 → Bmaj7 → D#m7 — I–V–I–I–?–ii in scale degrees.
15 of the chords need a barre (A#m7, B, Bmaj7, C#, C#6, C#7, C#m, C#m7, C#maj7, D#m, D#m7, F#, F#maj7, G#, G#7), so this sits at a upper-int. level.
With a capo on fret 6 you can play it with Em7 · F · Fmaj7 · G · G6 · G7 … shapes instead — 12 of 15 become open chords.
Start around 88 BPM with a metronome and work up to 125.
Tempo swings by ±16.2 BPM, so follow the recording rather than a metronome.
Dynamic range is 30 dB — a wide swing, with 13% of the song played quietly.
The first chord lands at 20s, so there is a short intro before you come in.
Balance of the mix: Drums 33%, Vocals 28%, Bass 26%.
The vocal sits between G♯2 and A4 (centred on C♯4), which helps if you are picking a key to sing in.
| Part | Starts | Bars | Plays | Progression |
|---|---|---|---|---|
| Part A | 0:11 | 1–8 | 1 | D#m7 → D#m7 → C#maj7 |
| Part B ★ | 0:25 | 9–16 | 8 | C#maj7 → G# → C#m7 → C#m7 → C#7 → Bmaj7 → Bmaj7 → D#m7 |
| Part C | 0:41 | 17–24 | 1 | C#maj7 → C#m7 → C#m7 → Bmaj7 → Bmaj7 → D#m7 |
| Part D | 0:56 | 25–32 | 3 | D#m → D#m7 → D#m7 → G#7 → C#maj7 → C#maj7 → C#7 → C#m7 |
| Part B ★ | 1:11 | 33–56 | 8 | Bmaj7 → D#m7 → D#m7 → D#m7 → C# → C# → C#maj7 → C#m7 |
| Part D | 1:57 | 57–64 | 3 | Bmaj7 → D#m7 → D#m7 → G#7 → C#maj7 → C#maj7 → C#7 → C#m7 |
| Part B ★ | 2:13 | 65–72 | 8 | Bmaj7 → D#m → D#m7 → C# → C#maj7 → C#maj7 → C#7 → C#m7 |
| Part D | 2:28 | 73–80 | 3 | Bmaj7 → D#m7 → D#m7 → D#m7 → C#maj7 → C#maj7 → C#m7 → C#7 |
| Part E | 2:43 | 81–88 | 1 | Bmaj7 → D#m7 → D#m7 → D#m7 → D#m7 → C#maj7 → C#maj7 → C#maj7 |
| Part B ★ | 2:59 | 89–112 | 8 | Bmaj7 → D#m → D#m → D#m → D#m7 → G#7 → C# → C#maj7 |
★ most repeated — likely the chorus
The Roman numeral on each chord shows its function relative to the key, revealing the harmonic flow.