Ninth chord

Template:Short description Template:Redirect In music theory, a ninth chord is a chord that encompasses the interval of a ninth when arranged in close position with the root in the bass.<ref>Sadie, Stanley, ed. (1980). "Ninth chord", p. 252, The New Grove Dictionary of Music and Musicians, vol. 13. Template:ISBN.</ref>

Heinrich Schenker and also Nikolai Rimsky-Korsakov allowed the substitution of the dominant seventh, leading-tone, and leading tone half-diminished seventh chords, but rejected the concept of a ninth chord on the basis that only that on the fifth scale degree (V⁹) was admitted and that inversion was not allowed of the ninth chord.<ref>Schenker, Heinrich (1980). Harmony, p. 190. Template:ISBN.</ref><ref>Nikolai Rimsky-Korsakov Practical Manual of Harmony / Ukrainian edition - Kyiv, 1948. - p.52</ref>

File:Ninth chord resolution examples given by Schoenberg.png

Resolutions given as examples by Schoenberg: V9 chords in

File:Ninth chord resolution examples given by Schoenberg A.mid root position	File:Ninth chord resolution examples given by Schoenberg B.mid 1st
File:Ninth chord resolution examples given by Schoenberg C.mid 2nd	File:Ninth chord resolution examples given by Schoenberg D.mid and 3rd inversion
resolving to I chords, followed by a ITemplate:Supsub chord<ref name="Schoenberg" />	File:Ninth chord resolution examples given by Schoenberg E.mid resolving to IV

Dominant ninth

File:Ninth chord voice leading.png Voice leading for dominant ninth chords in the common practice period.<ref name="B&S 183-84" />File:Ninth chord voice leading.mid

File:Ninth vs added-ninth chord.png Ninth (C9) vs added-ninth chord (Cadd9), distinguished, in academic textbooks and jazz & rock sheet music, by the presence or absence of a seventh.<ref name="Stephenson 85">Template:Cite book</ref>File:Ninth vs added-ninth chord.mid

File:Dominant ninth chord on C 4 voice.png Dominant ninth chord in four-part writingTemplate:SfnFile:Dominant ninth chord on C 4 voice.mid

{{#invoke:Listen|main}} There is a difference between a major ninth chord and a dominant ninth chord. A dominant ninth is the combination of a dominant chord (with a minor seventh) and a major ninth. A major ninth chord (e.g., Cmaj⁹), as an extended chord, adds the major seventh along with the ninth to the major triad. Thus, a Cmaj⁹ consists of C, E, G, B and D. When the symbol "9" is not preceded by the word "major" or "maj" (e.g., C⁹), the chord is a dominant ninth. That is, the implied seventh chord is a dominant seventh, i.e. a major triad plus the minor seventh, to which the ninth is added: e.g., a C⁹ consists of C, E, G, BTemplate:Music and D. C dominant ninth (C⁹) would usually be expected to resolve to an F major chord (the implied key, C being the dominant of F). 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.<ref name="Fetis">Fétis, François-Joseph and Arlin, Mary I. (1994). Esquisse de l'histoire de l'harmonie, p. 139n9. Template:ISBN.</ref>

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".<ref name="B&S 183-84">Template:Cite book</ref> The ninth and seventh usually resolve downward to the fifth and third of I.<ref name="B&S 183-84"/>

Example of tonic dominant ninth chords include Bobbie Gentry's "Ode to Billie Joe" and Wild Cherry's "Play That Funky Music".Template:Sfn James Brown's "I Got You (I Feel Good)" features a striking dominant 9th arpeggio played staccato at the end of the opening 12-bar sequence. The opening phrase of Chopin's well-known "Minute Waltz" climaxes on a dominant 9th chord:

File:Chopin Minute Waltz bars 1-10.wav

Chopin Waltz in DTemplate:Music, Op. 64, No. 1

File:Chopin Minute Waltz opening.png

Chopin Waltz in DTemplate:Music, Op. 64, No. 1

César Franck's Violin Sonata in A Major opens with a dominant ninth chord (E⁹) in the piano part. When the violin enters in the fifth bar, its melody articulates an arpeggio of this chord.

File:Franck Violin Sonata first movement, bars 1-8.wav

Cesar Franck Violin Sonata in A major, opening bars

File:Franck Violin Sonata opening.png

Cesar Franck Violin Sonata in A major, opening bars

Debussy's "Hommage a Rameau", the second of his first Book of Images for piano solo climaxes powerfully on a dominant 9th, expressed both as a chord and as a wide-ranging arpeggio:

File:Debussy, from Hommage a Rameau.wav

Debussy, from Hommage a Rameau

File:Hommage a Rameau (dominant 9th).png

Debussy, from Hommage a Rameau

The starting point of Karlheinz Stockhausen's piece for vocal sextet, Stimmung (1968)<ref>Template:YouTube</ref> is a chord consisting of the notes BTemplate:Music, F, BTemplate:Music, D, ATemplate:Music and C.<ref>Stimmung, British Library</ref> According to Nicholas Cook,<ref>Template:Cite book</ref> 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

<score sound='1'>

<c' e' g' bes' des>2 </score>

(Dominant minor ninth chord on C)

A dominant minor ninth chord consists of a dominant seventh chord and a minor ninth. In C: C E G BTemplate:Music DTemplate:Music. Fétis tuned the chord 8:10:12:14:17.<ref name="Fetis" /> In notation for jazz and popular music, this chord is often denoted, e.g., C^{7Template:Music9}. 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 (C^{7Template:Music9}) is particularly effective in heightening the drama and sense of threat.

<score sound="1">

<<
 \new ChordNames \chordmode {s2 s2 c1:7.9-}
 {\new Voice ="mel" {\key aes \major \time 4/4
   r2 r4 c des2 des4. des8 des c c4 }}
   \new Lyrics {\lyricsto "mel" {Mein Va -- ter, mein Va -- ter __}}
\new GrandStaff <<
 \new Staff {\key aes \major \time 4/4
   \tuplet 3/2 {r8 <c' c> <c' c>} \tuplet 3/2 {<c' c> \f <c' c> <c' c>} \tuplet 3/2 {<c' c> <c' c> <c' c>} \tuplet 3/2 {<c' c> <c' c> <c' c>} \tuplet 3/2 {<c' c> <c' c> <c' c>} \tuplet 3/2 {<c' c> <c' c> <c' c>} \tuplet 3/2 {<c' c> <c' c> <c' c>} \tuplet 3/2 {<c' c> <c' c> <c' c>} \tuplet 3/2 {<c' c> <c' c> <c' c>} \tuplet 3/2 {<c' c> <c' c> <c' c>}}
 \new Staff {\clef bass \key aes \major \time 4/4
   <aes,, aes,>4 r r <a, a>(<bes, bes>2) <g, g> <e, e>}

>> >> </score>

(Excerpt from Schubert's Erlkönig – Link to passage)

Writing about this passage, Taruskin (2010, p. 149) remarks on the Template:Quote

<score lang="lilypond" vorbis="1">

<<

\new ChordNames {

 <a' c e>1 <d' fis' a' c es>1 <g' b' d>2

}

\new Staff {

\relative c {
  \key g \major
  \time 4/4 
  \tempo 4 = 150
  \set Score.tempoHideNote = ##t

  b4 a4 g4 e4 | es4 a2 b4 | g2
 }
\addlyrics {
    All I want for Christ -- mas is you
  }

}

>> </score>

(Excerpt from Mariah Carey – All I want for Christmas is You)

Minor ninth

<score sound='1'>

<a c' e' g' b'>2 </score>

(A minor ninth chord)

The minor ninth chord consists of a minor seventh chord and a major ninth. The formula is 1, Template:Music3, 5, Template:Music7, 9. This chord is written as Am⁹. This chord has a more "bluesy" sound and fits very well with the dominant ninth.

Major ninth

<score sound="1"> <c' e' g' b' d>2 </score>

Notable examples

• "Wedding Day at Troldhaugen" (Edvard Grieg)
• "In una stanza con poca luce" (Ennio Morricone: Once Upon a Time in the West soundtrack no. 18)

File:Ninth chord.gif Cmaj9 chordFile:Ninth chord CMA9 chord.mid

File:Monk's Mood major ninth chord.png Parallel root-position bop voicings that open the choruses of Thelonious Monk's 1959 "Monk's Mood" feature a (C) major ninth chord.<ref>Walter Everett (Autumn, 2004). "A Royal Scam: The Abstruse and Ironic Bop-Rock Harmony of Steely Dan", pp. 208–209, Music Theory Spectrum, vol. 26, no. 2, pp. 201–235.</ref>File:Monk's Mood major ninth chord.mid

The major ninth chord consists of a major seventh chord and a major ninth. The formula is 1, 3, 5, 7, 9. This chord is written as Cmaj9.

Relation to other chords with the ninth

File:Minor 6-9 chord on C.png

Audio file "Minor 6-9 chord on C.mid" not found}}Template:Category handler}}}}

File:Ninth of an added ninth chord on C.png

Audio file "Ninth of an added ninth chord on C.mid" not found}}Template:Category handler}}}}

Template:Anchor 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, C^6/9 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.<ref>Jazz Lessons</ref>

The second degree is octave equivalent to the ninth. The ninth chord could be alternatively notated as seventh added second chord (C^7add2), from where omitting the 3rd produces the seventh suspended second chord (C^7sus2).

An add9 chord, or added ninth chord, is any chord with an added ninth – C^add9 consists of C, E, G and D, Cm^add9 consists of C, E flat, G, and D, Cdim^add9 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 C5^add9 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 C^sus2 chord, where the second, D, replaces the third, E (C, D, G instead of C, E, G).

See also

• Jazz chord
• Dominant seventh sharp ninth chord