Major and Minor Nine Chords
Ninths are also common harmonic extensions. Major nine and minor nine chords are generally interchangeable with their major and minor seven counterparts. In each case, the nine simply adds another color or harmonic texture on top of the seventh. FIGURE 7-7 shows a major nine interval, a major nine chord, and a minor nine chord, respectively.
FIGURE 7-7: Major Nine Interval, Major Nine Chord, and Minor Nine Chord
One common minor nine inversion allows for a half step to occur between the major second interval (usually called the major ninth) and the minor third interval. When in this position, the minor seven interval is found on the bottom of the chord. For example, from bottom to top, a Gmin9 would be voiced as such: F, A, B-flat, and D. As you can see, the minor seventh (F) is on the bottom of the chord. Plus, A and B-flat create a lovely half-step interval that adds just the right dissonance to the chord. What about the root? The root (G) is not included in the voicing. Instead, it is played in the left hand.
In today's world, all styles of music are blending as new hybrids arise. Given this, don't be afraid to use Latin elements (such as the Brazilian bossa nova) in your pop or rock songs. In general, use minor nine chords whenever you want to add an elegant or classy feel to your music.
When voiced in this manner, the minor nine chord sounds moody yet enchanting. Because of this, the minor nine is perfect for romantic songs or jazzy interludes.
Take the previously described Gmin9 chord and pair it with a Bmin9.
Now try adding a groovy bossa nova bass line using roots and fifths. The result is quite striking.
FIGURE 7-8: Using Inverted Minor Nine Chords
Major ninth intervals are useful when playing the blues, and they are used a great deal in both major and minor keys. For example, revisit the minor blues excerpt in FIGURE 7-6. If you add a major ninth interval to the I and IV chords — C minor and F minor, respectively — the progression will get a little more sophisticated and chic.
FIGURE 7-9: Using Inverted Minor Nine Chords
Using major nine intervals on a
Major third
Major sixth (usually called a thirteenth)
Minor seventh (or as this book sometimes calls it a “dominant” seventh)
Major ninth
Notice how the root of each chord is played only in the bass. After you learn the elements of the blues in Chapter 9, try substituting triads and simple shell voicings with the more dissonant chords in FIGURE 7-10. When doing so, listen to see when these chords work and when they seem excessive or too harsh. Usually, their use depends on the style of blues you're playing. These chords are particularly effective in jazz blues and other contemporary blues hybrids.
FIGURE 7-10: Ninth-Thirteenth Chords
Even though ninths are found in these chords, they are usually written as 13 chords and the nine is implied.
