![]() ![]() Notice that the top three notes are all thirds apart and form a triad. Leaving out 5 and 3 gives us 1, 7, 9, 11. (Now, this does mean that you usually can't tell the actual quality of an 11th chord, but this is one case where that's ok) The 5th for reasons discussed above, and the 3rd for reasons discussed below. ![]() The 9th is the only one of the three chords you mentioned that can be built on just about any note of the scale.Īn 11th chord has to omit two notes and they are usually the 5th and the 3rd. The 5th is part of the harmonic structure of the root of the chord, so you can still hear it (sort of) even if it's not being played. I mean, you could, but then it'd just be a 7th chord. You can't omit the 7th, because then it just sounds like an add9, rather than an actual 9th chord. You can't omit the 3rd because that note gives the quality (major or minor) of the chord. You can't omit the root, because that's what the whole chord is based on. In a 9th chord, you would have to omit 1 note, and it's usually the 5th. Usually though, you'll only be writing for about 4 voices. If you were to include everything, the 9th would have five notes, the 11th six, and the 13th all seven. The following may not apply to jazz and other styles. My background is mostly hymns and other SATB settings. does this then mean that the interval is now a flat8 interval and not a flat9 interval? does that then make it acceptable (edit: i realise anything is 'acceptable' in music but couldn't find a better word)? i'm referring to the jazz rules where they say avoid semi tone and flat9 intervals. Let's say we voice it so that the 11 is BELOW the 3. let's say we decide to include both the 3 and the 11. This also got me thinking about something else. Is that true? Wikipedia article says we usually flat the 13 if we are going to resolve to a minor chord, but that would introduce a flat9 interval to the 5, so I guess we leave the 5 out in that case? interval between 1 and 9 is not a flat9, and the interval between 5 and 13 is usually only a flat 9 if we are anticipating a resolution to a minor chord. are these 'clashes' less important because it is not clashing with the integral 3 or 7 of the chord? edit: I think I messed this up. What about the interval between (1 and 9) and also (5 and 13) is a flat9 interval too. it would clash and hence we usually leave out the 11 as you said. in the dominant13 chord we have a flat9 interval between the 3rd and 11th which you alluded to. To being able to play C9b5 according to the fingering below, you must bar four strings.Just reviewing this thread to make sure this all sunk in and noticed something. Here are some examples using C as root tone (the shapes are movable). 9th chord alterationsĪlterations means that a note in the chord is altered, for example, a flattened fifth. Notice that 9sus is identical with one version of the 11th chord. A movable shape similar to that presented above can be used, here are some examples in notated form: ![]() ![]() It's also possible to play ninth suspended chords. Some examples follow below in short notation:įor more chord diagrams, see The Chord Reference ebook. For example, the first inversion of the C9 chord is written C9/E. To indicate that a chord is played inverted it is written as slash sign before the bass note. Here is an alternative that use the 4th string for the bass and has the root note on the 1st string.Ī 9th chord is possible to play in numerous configurations including four inversions (it's also common to combine inversions with omitting notes for this chord type). None of the shapes are all that pleasing: the first include a stretch and the second creates a somewhat bassy sound.ī9: 7X764X / 7676XX 9th chords with bass note on 4th string These shapes are using the 6th string for the bass and root note. To become more flexible, you should learn a shape with its base tone on another strings. In blues, a popular rootless inversion is by using the same shape as in the m7b5 chord, for example, A9/C# as X4545X. This turns the chord into a voicing without the root note and, for example, C9 will be played XX2333 and F9 will be played as XX7888. The 9th chords are most often played in closed positions as seen on diagrams above, but here are some suggestions for open 9th chords:Ī#9 / Bb9: X10111 9th chord voicings without the rootĪnother way to play these chords is to remove the tone on the 5th string. A 12 Bar Blues progression could look something like:Ī7 – D9 – A7 – E9 – D9 – A7 9th chord in open position If you know how to play a 12 bar blues chord progression you can mix it up by replacing the IV7 and V7 with IV9 and V9. ![]()
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