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The Dominant Minor 9th chord is the dominant 7th chord, plus a m9. This chord is fairly uncommon. It contains the m2 (m9) and M3 in relation to the root note, implying a whole+half step, placing it outside of the standard major/natural minor scales; however it is diatonic to the harmonic scale, with the root note of the chord occurring on the 6th note of the scale.
The 5th is optional and dropped in some voicings, which eliminates a tritone interval between the 5th and 9th, helping make the chord slightly less dissonant. However, there is still another tritone and the m9 intervals in the chord.
The Major 9th chord is the same as a Major 7th, plus the M9. It takes the dreamy quality of the Major 7th and amplifies it. It can be used to substitute for tonic and pre-dominant chords, as it is diatonic to the major scale with the 1st or 4th notes as the root, or the natural minor scale with the 3rd or 6th notes as the root.
The 5th is optional, which is pragmatic for fingering purposes as seen below. This drops the pair of perfect 5th intervals between the 5th and the root and M9, which makes the chord less harmonic. However, since there's so much going on anyway, it will not make a big difference.
The Minor 9th is the Minor 7th, plus the M9. It is a common chord found to substitute for the Minor 7th.
The 5th is optional, which drops a pair of P5 intervals, making the chord slightly more dissonant, although it will be difficult to hear among the other intervals, as the chord overall has a consonant quality.
Similar to the Dominant Minor 9th, this chord extends the Dominant 7th, but rather than adding the m9, it adds an A9 (same as a m3 from root). Thus, it contains both the m3 and M3 intervals in relation to the root note. As crazy and dissonant as that might sound, this chord is used fairly regularly, particularly in blues which makes use of the m3 as a blue note without necessarily abandoning use of the M3. It appears not simply in jazz but also in rock, being the main chord of '''Jimi Hendrix's''' ''Purple Haze''. It has an ambiguity to it that allows it to function in a number of roles, but will most commonly be found as the tonic in a blues (or bluesy) progression.
The 5th is optional, which is pragmatic for fingering as seen below. While this drops the a pair of m3 intervals, the A9 interval is an m3 + an octave anyway. Since this chord has the potential for dissonance, dropping the 5th is recommended to make the chord more consonant and less complex.
You should recognize this chord as the "jazz ending" chord. It is fairly complex yet consonant and dreamy, finding a peaceful resolution to a progression. As such it substitutes for tonic.
Unlike other 9th chords, it uses the M6 instead of a 7th; but this can also be interpretted as a d7.
This is the same set of notes as the [[Ref:_Common_Scales#Major_Pentatonic|Major Pentatonic Scale]].
The Major Added 9th chord is a standard major triad, plus the M9. It simply takes the dreamy quality of a suspended 2nd, but gives a firm major tonality. It can be used anywhere a sus2 or major triad would work.
The Minor Added 9th chord is a standard minor triad, plus the M9. It simply takes the dreamy quality of a suspended 2nd, but gives a firm minor tonality. It can be used anywhere a sus2 or minor triad would work.
The 7th, 9th, and 11th in this chord are the diatonic notes for the major scale. They form a diminished triad, composed of 2 m3 intervals. This dissonance is somewhat offset by the M7 and M9 harmony against the root note.
This chord is very rare. Since the M3 is not present, it can be considered a 9 sus4 chord. For example, C{{9}}sus4. C{{11}} refers to a [[#Dominant 11th|Dominant 11th]], while C{{maj}}{{11}} has the major 7th but also an augmented 11th.
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== Dominant Minor 9th ==
'''Root{{7}}{{b}}9 as in C{{7}}{{b}}9'''
The <u>Dominant Minor 9th</u> chord is the Dominant 7th chord, plus a m9. This chord is fairly uncommon. It contains the m2 (m9) and M3 in relation to the root note, implying a whole+half step, placing it outside of the standard major/natural minor scales; however it is diatonic to the harmonic scale, with the root note of the chord occurring on the 6th note of the scale. Most often, the chord will be used in other contexts, using the non-diatonic {{b}}9th, making this an ''altered'' chord for the given key.
The 5th is optional and dropped in some voicings, which eliminates a tritone interval between the 5th and 9th, helping make the chord slightly less dissonant. However, there is still another tritone and the m9 interval in the chord.
'''''R - M3 - (P5) - m7 - m9'''''
-M3-(-m3- -m3-)'''-m3-'''
'''-------d7------'''
'''---------m9---------'''
{|
== Major 9th ==
'''Root {{maj}}{{9}} as in C{{maj}}{{9}}'''
The <u>Major 9th</u> chord is the same as a Major 7th, plus the M9. It takes the dreamy quality of the Major 7th and adds the dreamy quality of a sus2 chord - the result is ''extra dreamy''. It can be used to substitute for tonic and pre-dominant chords, as it is diatonic to the major scale with the 1st or 4th notes as the root, or the natural minor scale with the 3rd or 6th notes as the root.
The 5th is optional, which is pragmatic for fingering purposes as seen below. This drops the pair of perfect 5th intervals between the 5th and the root and M9, which makes the chord less harmonic. However, since there's so much going on anyway, it will not make a big difference.
'''''R - M3 - (P5) - M7 - M9'''''
-M3-(-m3- -M3-)'''-m3-'''
'''-------m7------'''
'''---------M9---------'''
{|
== Minor 9th ==
'''Root m{{9}} as in Cm{{9}}'''
The <u>Minor 9th</u> is the Minor 7th, plus the M9. It is a common chord found to substitute for the Minor 7th.
The 5th is optional, which drops a pair of P5 intervals, making the chord slightly more dissonant, although it will be difficult to hear among the other intervals, as the chord overall has a consonant quality.
'''''R - m3 - (P5) - m7 - M9'''''
-m3-(-M3- -m3-)'''-M3-'''
'''-------M7------'''
'''---------M9---------'''
{|
== Augmented 9th ==
'''Root{{7}}+9 as in C{{7}}+9
Similar to the Dominant 9th, the <u>Augmented 9th</u> extends the Dominant 7th, but rather than adding the M9, it adds an A9 (same as a m3 from root). Thus, it contains both the m3 and M3 intervals in relation to the root note. As crazy and dissonant as that might sound, this chord is used fairly regularly, particularly in Blues which makes use of the m3 as a blue note without necessarily abandoning use of the M3. It also appears in Jazz as well as Rock, being the main chord of '''Jimi Hendrix's''' ''Purple Haze''. It has an ambiguity to it that allows it to function in a number of roles, but will most commonly be found as the tonic in a Blues (or bluesy) progression.
The 5th is optional, which is pragmatic for fingering as seen below. While this drops the a pair of m3 intervals, the A9 interval is a m3 + an octave anyway. Since this chord has the potential for dissonance, dropping the 5th is recommended to make the chord more consonant and less complex.
'''''R - M3 - (P5) - m7 - A9'''''
-M3-(-m3- -m3-)'''-P4-'''
'''-------M7------'''
'''---------A9---------'''
{|
== 6/9 ==
'''Root{{6}}add9 as in C{{6}}add9'''
You should recognize the <u>6/9 Chord</u> chord as the "jazz ending" chord. It is fairly complex yet consonant and dreamy, finding a peaceful resolution to a progression. As such it substitutes for tonic.
Unlike other 9th chords, it uses the M6 instead of a 7th; but this can also be interpretted as a d7.
This is the same set of notes as the [[Ref:_Common_Scales#Major_Pentatonic|Major Pentatonic Scale]].
'''''R - M3 - P5 - M6 - M9'''''
-M3- -m3- -M2- '''-P4-'''
'''-------m7------'''
'''---------M9--------'''
{|
== Major Added 9th ==
'''Root add9 as in C add9'''
The <u>Major Added 9th</u> chord is a standard major triad, plus the M9. It simply takes the dreamy quality of a suspended 2nd, but gives a firm major tonality. It can be used anywhere a sus2 or major triad would work.
'''''R - M3 - P5 - M9'''''
-M3- -m3- '''-P5-'''
'''----m7---'''
'''------M9------'''
{|
== Minor Added 9th ==
'''Root m add9 as in Cm add9'''
The Minor Added 9th chord is a standard minor triad, plus the M9. It simply takes the dreamy quality of a suspended 2nd, but gives a firm minor tonality. It can be used anywhere a sus2 or minor triad would work.
'''''R - m3 - P5 - M9'''''
-M3- -m3- '''-P5-'''
'''----m7---'''
'''------M9------'''
{|
== 11th (Diatonic) ==
'''7{{dim}}/Root as in B{{dim}}/C ''when 5th is not present'';'''
The 7th, 9th, and 11th in this chord are the diatonic notes for the major scale. They form a diminished triad, composed of 2 m3 intervals. This dissonance is somewhat offset by the M7 and M9 harmony against the root note.
This chord is very rare. Since the M3 is not present, it can be considered a 9 sus4 chord. For example, C{{9}}sus4. C{{11}} refers to a [[#Dominant 11th|Dominant 11th]], while C{{maj}}{{11}} has the major 7th but also an augmented 11th.
'''''R - <nowiki>[M3]</nowiki> - (P5) - M7 - M9 - P11'''''
-------M7-------- -m3- -m3-
{|