Ninth chord

A dominant ninth chord is a dominant seventh chord plus a major ninth above the root. For instance, a C dominant ninth chord (C9) consists of the notes C–E–G–B–D. : { \override Score.TimeSignature • 'stencil = ##f \relative c' { \time 4/4 \set Score.tempoHideNote = ##t \tempo 1 = 20 1 } } When the symbol "9" is not preceded by the word "major" or "maj" (e.g., C9), the chord is a dominant ninth. The ninth is commonly chromatically altered by half-step either up or down to create more tension and dissonance. Fétis tuned the chord 4:5:6:7:9. In the common practice period, "the root, 3rd, 7th, and 9th are the most common factors present in the V9 chord," with the 5th, "typically omitted". The ninth and seventh usually resolve downward to the fifth and third of I. is a chord consisting of the notes B, F, B, D, A and C. According to Nicholas Cook, Stimmung could, in terms of conventional tonal harmony, be viewed as "simply a dominant ninth chord that is subject to timbral variation. The notes the performers sing are harmonics 2, 3, 4, 5, 7, and 9 of the implied but absent fundamental—the B flat below the bass clef." ==Dominant minor ninth chord==

A dominant minor ninth chord consists of a dominant seventh chord and a minor ninth above the root. For instance, a C dominant minor ninth chord (C79) consists of the notes C–E–G–B–D. : { \override Score.TimeSignature • 'stencil = ##f \relative c' { \time 4/4 \set Score.tempoHideNote = ##t \tempo 1 = 20 1 } } In notation for jazz and popular music, this chord is often denoted, e.g., C79. Fétis tuned the chord 8:10:12:14:17. In Schubert's Erlkönig, a terrified child calls out to his father when he sees an apparition of the sinister Elf King. The dissonant voicing of the dominant minor ninth chord used here (C79) is particularly effective in heightening the drama and sense of threat. : } \tuplet 3/2 { \f } \tuplet 3/2 { } \tuplet 3/2 { } \tuplet 3/2 { } \tuplet 3/2 { } \tuplet 3/2 { } \tuplet 3/2 { } \tuplet 3/2 { } \tuplet 3/2 { }} \new Staff {\clef bass \key aes \major \time 4/4 4 r r (2) } >> >> :(Excerpt from Schubert's Erlkönig – Link to passage) Writing about this passage, Taruskin (2010, p. 149) remarks on the ==Minor ninth chord==

The minor ninth chord consists of a minor seventh chord and a major ninth above the root. For instance, a C minor ninth chord (Cm9) consists of the notes C–E–G–B–D. : { \override Score.TimeSignature • 'stencil = ##f \relative c' { \time 4/4 \set Score.tempoHideNote = ##t \tempo 1 = 20 1 } } The formula is 1, 3, 5, 7, 9. This chord has a more "bluesy" sound and fits very well with the dominant ninth. ==Major ninth chord==

that open the choruses of Thelonious Monk's 1959 "Monk's Mood" feature a (C) major ninth chord.A major ninth chord (e.g., Cmaj9), as an extended chord, adds the major seventh along with the ninth to the major triad. For instance, a C major ninth chord (Cmaj9) consists of the notes C–E–G–B–D. : { \override Score.TimeSignature • 'stencil = ##f \relative c' { \time 4/4 \set Score.tempoHideNote = ##t \tempo 1 = 20 1 } } Examples include Edvard Grieg's "Wedding Day at Troldhaugen" and Ennio Morricone's "In una stanza con poca luce" from Once Upon a Time in the West. == Dominant seventh sharp ninth chord ==

A dominant seventh sharp ninth chord is a dominant seventh chord plus an augmented ninth above the root. For instance, a C dominant seventh sharp ninth chord (C79) consists of the notes C–E–G–B–D. : { \override Score.TimeSignature • 'stencil = ##f \relative c' { \time 4/4 \set Score.tempoHideNote = ##t \tempo 1 = 20 1 } } ==Relation to other chords with the ninth==

. , Cadd2. The 6/9 chord is a pentad with a major triad joined by a sixth and ninth above the root, but no seventh. For example, C6/9 is C–E–G–A–D. It is not a tense chord requiring resolution, and is considered a substitute for the tonic in jazz. The minor 6/9 chord is a minor triad with an added 6th and 9th, evoking the Dorian mode, and is also suitable as a minor tonic in jazz. The second degree is octave equivalent to the ninth. The ninth chord could be alternatively notated as seventh added second chord (C7add2), from where omitting the 3rd produces the seventh suspended second chord (C7sus2). An add9 chord, or added ninth chord, is any chord with an added ninth – Cadd9 consists of C, E, G and D, Cmadd9 consists of C, E flat, G, and D, Cdimadd9 consists of C, E flat, G flat, and D, etc. Added ninth chords differ from other ninth chords because the seventh is not necessarily included. An add9 can also be added to an interval, like a C5, resulting in a C5add9 chord which consists of C and G (C5) with D as an added 9 (C, G, D). Note that if the note is within an octave from the root, it is a second, not a ninth. In the case of C, D, G, within a fifth rather than spanning a ninth, this is a Csus2 chord, where the second, D, replaces the third, E (C, D, G instead of C, E, G). ==See also==