Ninth Chord Puns

Any help is appreciated, thank you.

Isn’t a major nine chord the same thing as a “nine chord”? Sorry to be daft.

Or maybe someway to make my hands bigger?

I noticed that a memorable section in the first movement of Beethoven's 5th contains a dominant ninth chord. The interesting thing is that the ninth is not in the previous chord and it stays on the dominant chord all the way until its resolution to the tonic. It seems to be genuinely treated as a valid dominant chord. Wouldn't that be pretty unusual at that time?

Another particularly interesting thing about this chord is that the ninth of the dominant chord is briefly suspended onto the tonic (as a sixth) before it fully resolves, almost being treated as an appoggiatura. The progression that results is B♭9 - E♭(add6) - E♭. The section starts at 0:47.

Is this an unusual occurrence? Can this be treated as a legitimate dominant ninth chord?

I came across this text in one article about a Rachmaninoff's second piano Concerto in C minor.

"A C-flat is Introduced as the fifth of an altered II^(9) chord in E-flat Major, forming a diminished minor-major ninth chord—a typical Rachmaninoff sonority"

Can someone please help me understand what this is about?

Check out this chord in this aria of Fidelio, which occurs at 3:44 in the linked video. I believe it to be Emaj9. You can easily hear all five notes of the chord, and I don't hear any notes besides these five notes. It appears on the fourth degree of the scale, as you would expect a major ninth chord to appear. Most cases of chords that sound like maj9 chords in classical music turn out to be appoggiatura chords, but this obviously isn't because the bass note isn't the root of the tonic, the third is included, and there is no eleventh. Is it legit?

I'm trying to get into music theory and any time I need to play a ninth chord, I find the second key in the scale and use that. What's the point of labeling them as 9th, 11th and 13th when really keys only have 7 intervals?

Please correct me if I'm wrong

The Dominant Ninth Chord (like A9) is used frequently in many styles from funk to rock and jazz. Due to its construction consisting of five notes e.g. root, third, fifth, dominant seventh and ninth, there are many different possibilities to finger this very versatile chord. Adding various string combinations makes it even harder to remember more than the obvious ones. To help the guitar community (myself included) mastering this task, I collected 25 different fingerings using 5 distinctive string combinations on this graphic page https://www.guitar.ch/en-us/guitar/chord/chord-7-9-interval.html There you can see all the intervallic relationships within a voicing, click on it and hear it. At the bottom of the page is also a video demonstrating all these chord voicings in one track... Hope you like it!

I've been avoiding keys and chord progressions since beginning to learn guitar. I like the way Cadd9 to Am7 sounds but I was just wondering if this is still in the key of C?

Also if anyone knows any fun ways to learn the notes in a key I'd really appreciate if they could share their methods.

Thanks!

I've searched the internet but haven't found a conclusive answer.

Normally when building a minor ninth chord, you would take 1 3b 5 7b 9, e.g. C Eb G Bb D

But what if the root note of the chord is the third scale degree of the key? E.g. in the key of Ab, the 9th of C is Db; so your chord would be C Eb G Bb Db.

So would you still call that Cm9, or is it actually something else?

If there are other aspects or concepts at work that I'm missing, please fill me in.

This is coming from a guitarist's perspective. It seems to me, on guitar, if the notes of a ninth chord are played, regardless of intervals, it works.

For example, G9 (G B D F A). The "A" could also be an add2. What's makes a ninth chord a ninth chord? Add2 vs Add9?

Measure 7 of the finale from Brahms 4 (which is in e minor) is a B dominant seventh with a ninth (C-natural). But the C-natural is in the bass (bass trombone), and the harmony resolves to a root position e minor chord.

What fig bass symbol should I use to analyze this harmony? Is V^9 sufficient?

Hey guys, out of interest, I'm wondering if you know of any pieces with this chord? (I'm aware that it's common in jazz) In case I got the name wrong, what I mean is: G B D F A#

I would think to notate them like in this chart I worked out here: https://imgur.com/a/GEPZZja I copied the pattern for the triad and 7th inversion abbreviations to get these ones. With this I get 13 7 for a ninth chord in first inversion which doesn't look quite right. You could solve this problem by moving the 9th to the 2nd (for example: CEGBbD to CDEGBb) but that doesn't seem like it would be the correct way to come up with the numbers as it changes the sequence of the notes and doesn't measure a 9th in root position. I know that if you have a chord like DCEGBb you could just write it as C9/D, but that wouldn't work if it were to be transposed to a different key surrounded by chords written in roman numerals. (In other words, if I have I vi V9/D I in F major, the /D wouldn't transpose correctly to any other key.) So right now I'm thinking that the best way to write a ninth in second inversion would be either with 13 7 or 13 7 5 3.

I am reading through the fourth edition of Persichetti’s Twentieth Century Harmony and so far a large majority of what is being covered I have gone over in my undergrad. However, I am very confused at p. 24 with the Overtone Influence. It is a paragraph speaking about how a triad is formed by partials 1-3-5 and then adds on to this. I understand until it gets to the whole tone chords, chords by fourths, and augmented fourth chords. It gives a number to coincide with these, and this is where I am lost. It says “the whole tone chords by 7 to 11…” Does this mean it would go C E G B D F or like a whole tone scale by CDEF#G#…etc. If so where does the 7 and 11 come in. I am equally confused about the ones in fourths as I am unsure if it means 6-8-9 as C E G A C D or something else. This lack of clarity then moves on to the next paragraph, mentioning how a G# is a stronger overtone of C than F# because it is lower, which compared to ex. 1-21 on p. 23, it is not.

Any clarification would help immensely!

I've come across chords like this: Ab - Db - Eb - Gb - Bb, and it's been written Ab9sus4. Is this the most common way to write it?

I've also come across similar chords without the 7, like: Ab - Db - Eb - Ab - Bb. What's the best/most common way to write this? Absus4 add 9? Or something like Absus2, 4? (That one looks strange... not sure of the convention here...)

Thanks for any help with this!

I am wondering if there is a clear way to know how different extensions “function”. For example, I know a regular dominant 7th chord normally acts as the 5 of something which will take you there (E7 to A, etc). And from my knowledge most of the time a dom7 can just be replaced with a 9 chord. (Say your going to F, you just play a C9 instead of a C7) they do the same thing but just sound a little different. But when you get into the higher extensions does the chords function even change. More specifically when I see that they make the 11 or 9 # or b. Like does a C7#9 have the same purpose as a regular C9?. Or all the other combinations you normally see. Why would someone make it a b9 opposed to a #9? Thanks

I wrote this during a time of absolute boredom and in no way am I discussing about technical ranking, more or so an overview of what the pieces are about. It's also Scriabin's 150th :D

_________________________________________________________________________

Often many consider the First Sonata (Op.6, 1891-2), Second (Op.19, 1892-97), and Third (Op.23, 1898) to be the Sonatas of Scriabin’s first period.

The 4th Sonata (Op.30, 1903) really is the only Sonata Scriabin composed during the middle period as the 5th (Op.53, 1907) is more of a transitory work in my opinion between the middle and late periods.

The 6th (Op.62 1911-12), 7th (Op.64, 1911-12), 8th (Op.66, 1912-13), 9th (Op.68, 1912-13) and 10th (Op.70, 1912-13) were all composed during his “late” period and features substantial difference between his earlier Sonatas.

_________________________________________________________________________

No.1: The first representing a fight against fate and destiny as young Scriabin broke his hands. Casted in 4 movements, it follows a somewhat conventional form. An Allegro, slow movement without tempo markings, Rondo, but ends with a Funeral March that is somewhat of an attacca. Chopin, Schumann and Brahms’ influence is clear in this Sonata and this is the least performed out of the 10 due to it’s inferior originality (Not saying it doesn’t have any, but is lacking in comparison to the other 9) and perhaps lengthy form.

No.2: One of Scriabin’s most famous works. An impressionistic work fused with Chopinesque pianism. Scriabin’s style and proficiency has improved drastically in comparison to his first. The piece is in two movements and in general represents the movements of the sea. The first being caresses of moonlight and agitation of the deep sea. The first movement features delicate ornaments often placed in between the melody and accompanied with typical Scriabin-esque polyrhythms. While the second being of a sea storm of sorts. The Presto finale features a moto perpetuo in the right hand with an endless stream of triplets while the left hand maintains an intimidating marching rhythm. It’s a popular piece for competitions and other events as it is very very beautiful but also challenging for the pianist. As far as technical difficulty is concerned, this Sonata ranks one of the easier Sonatas

I'am struggling to read properly this chord : F °7/9 I do think the right notes are : F - Ab - B - Eb - G

Should I play the ninth as the bass notes, or as a simple added harmony ?

Thanks !

I don't want to step on anybody's toes here, but the amount of non-dad jokes here in this subreddit really annoys me. First of all, dad jokes CAN be NSFW, it clearly says so in the sub rules. Secondly, it doesn't automatically make it a dad joke if it's from a conversation between you and your child. Most importantly, the jokes that your CHILDREN tell YOU are not dad jokes. The point of a dad joke is that it's so cheesy only a dad who's trying to be funny would make such a joke. That's it. They are stupid plays on words, lame puns and so on. There has to be a clever pun or wordplay for it to be considered a dad joke.

Again, to all the fellow dads, I apologise if I'm sounding too harsh. But I just needed to get it off my chest.

To my ears, it's one of the most beautiful chords there is, if you voice it correctly at least.

Just a plain 1 3 5 and 4 an octave above sounds pretty bad. But just changing the voicing to 1 4 5 3, which changes the minor ninth into a major 7th, and it sounds heavenly. 1 3 4 5 as a cluster chord is also nice. It also works with other extensions maj7, 9 or even b7, as long as you're careful with the voicing.

So I was wondering: Am I just weird? Does the chord sound good to you guys? Also, if you happen to know any songs / artists that use them, feel free to let me know!

EDIT: I just remembered one instance of it being used absolutely wonderfully: In the alarm tone "warm breeze" from the app Sleep Cycle. It's where I really noticed it for the first time. Probably my favorite alarm sound to this day.

GET 🉐 GET 😟 GET 😧 GET 💪 GOT 🉐 GOT 🎮 GOT 🤤 GOT 😜 BLOOD 🧛‍♂️ RUSH 🏃 TO MY 🥳 HEAD 🤯 LIT 🔥 HOT 🥵 LOCK 🔑 POPPIN’ OFF 📴 THE FUCKIN’ 👉👌😩 BLOCK 🌚😈🔮💯 KNOT CLOCKIN’ WRIST ⌚💯 SLIT WATCH 👀 BENT THOUGHT 💭 BOT 🤖 TAIL 🏃🏻🚨 PIPE DRAGGIN’ VOLUME 🔊 BLASTIN’ BAILIN’ OUT ✊ MY 👨🍕 BRAIN 🧠 RED 🔴 LIGHT 🏮 FLASH ⚡ DEM STOP 🖐 I 😊 SMASH 🎸📰👝🙏🏼😩 ABRAXAS, HYDROPLANE, MASSIVE 😯😯 CATCH 💖 THIS FLIGHT ✈️ FLOW RAININ’ MADNESS MASTERED MINE 💎 AND LACED THE AVE WITH BLACK 🖤 CAT 🐈 FISH 🍥 TAILIN’ WAVES 🌊 OF STRATUS CURB RIGHT ➡️ TA FAR 🌌 LEFT ◀ LANE 🚲 DON’T 🚫😡 WAIT 🕒 FOR 4️⃣ ME, 😭 IF I 👦 CARE 💅 BOUT 👆 ANYTHING, 💰 ANYWHERE 👎 LOSIN’ MYSELF, 🎊 I 👨 GET 🔟 THE STARES WHAT ❓ I’M 🥼 LOOKIN’ 👀👀 AT, WASN’T ⛔ THERE 🐱 (WASN’T ❌ THERE) 😌 NOTHIN’ ❌ OUT 👉 THERE 😌 CAN’T 👽 STAY 💒 INSIDE 😫 HIT 🔞💯 THE BAR, 😮 SLEEP 💤 DEPRIVED WHO ⁉️ DROVE 🚖 THE CAR 🦎 I’M 😂 STILL ⏰👠 ALIVE 💓 UP ✨ IN 😏 SMOKE, 🚭 MOON 🌚 WAS LOW 🔉 HOW’D YOU 😊 KNOW 🤔 DIDN’T 😘😊 SAY 🙅‍♀️ I ℹ️ DID 🍷 WHOSE 🌄 IS THIS, YOU 🤔👉 KNOW 😍 WHAT 🙌 THIS IS.. BUT 🤔 DO ‼️‼️‼️‼️‼️‼️‼️ YOU 🤡 KNOW 🤔 FLY 📷 INSIDE 😫 OUT 🤬🤬 ROT DEM BIG 😱 SHOT 🥃 SIMP 🥺🥺🥺 SLOT 🎰 SHIT 💩 BUT 🙅🏼‍♂️ A ONE 😌 HIT 👊😡 QUICK 🏃 STOP ✋🚫 SO MANY ❔ WAYS 💫 TA SKIN 🤷‍♀️ THE FRAME 🖼 REMEMBER 🧠 WHEN 😳🥵 FIRST 🏻👆 GOT 😏 STRANGE NOW 👏 I ✌️ JUST 🙊 THINK 🤔💭🤯 IT LIFE 🧬 OBEY SO WHAT 🤔👉 COMES 🚶🏻‍♂️ NEXT ⏭️ RIGHT 👌🏿 AWAY 😱🏃 (RIGHT 👉 AWAY) 🥰 RAISE 🙋🏽‍♀️ THE CUP, ☕ TILT IT DRY 😫🤧 COME 📍 BLACK 🖤 CLOUD 🌨 COVER 📔 THE SKY ☁️ TONGUE 😝 THOUGHT 💭 PUPIL OF YOUR 👉 EYE 😜 SICKNESS 👂🏿 MOVES 🕺💃🌟 YOU 👈 CAN’T 🚫 DENY ❎ LICKIN’ THOUGHT 💭 YOU 👈 MASTERMIND FOR 🎅 MERCY MAN 👴 CRY 😭 YEAH 🙋🏾 I’M 💘 KNOWIN’ AND YOU 😀 KNOW 📕 WHY 😷🏫🤔🤔 NAIL 💅 THOUGHT 🤔 MENTAL 🧠 EVER 😠 DEM TRY ✏️ PIGEON HOLE 🕳 ME 🤧 GET 🌽 CRUCIFIED CAN’T 🚫 CLONE 👱 THIS EDGE 😠 WHAT’S ⁉️ IT COST 💰 TO LOSE 📉 YOUR 👉😩 HEAD 🗣 WIT OUT 💸 END 🔚 UP 🏃💰 LOST 🤔❌ SHOULD 💘👶 BE 🙋🎮 ASKIN’ WHERE’S 👀 THE SAFE 🌺 BORN 👶 WIT A SKI ⛷ MASK 😷 ON 🔥 MY 😀 FACE 😶 FLY 📷 INSIDE 🚪 OUT 🤟 ROT DEM BIG 🤧 SHOT 🥃 SIMP 🥺🥺🥺 SLOT 🎰 SHIT 💩 BUT 🤔 A ONE 1️⃣ HIT 🔞💯 QUICK 🏃 STOP ✋ LYCANTHROPIC MANIC CYCLES FIRE 🔥 WATER 🐃 BURNIN’ BIBLES WAKE ⏰ UP 🆙 RAGIN’ CALL 😠 A TAXI 🚕 TAKE 👊 ME 😼 TO THE NEAREST 🚦🌐 CITY 🌆 CELL 📲 LIGHT 🏮 UP ☝️🔝 YEAH 💁🤷 GET 🔟 AT ME ✌️ MAKE 💘 IT QUICK 🏃‍♀ THOUGH 🥰💖✨ BLOOD 🧛‍♂️ IM 💘 BUSY 🔕 (GET 5️⃣ BUSY) 🔕 DRILLED A HOLE ⛳ INTO 🔝⚠️ MY 🥵 HEAD 🤯 PIERCED THE

The Dominant Ninth Chord (like A9) is used frequently in many styles from blues to funk, rock and jazz. Due to its construction consisting of five notes e.g. root, third, fifth, dominant seventh and ninth, there are many different possibilities to finger this very versatile chord. Adding various string combinations makes it even harder to remember more than the obvious ones. To help the guitar community (myself included) mastering this task, I collected 25 different fingerings using 5 distinctive string combinations on this graphic page https://www.guitar.ch/en-us/guitar/chord/chord-7-9-interval.html There you can see all the intervallic relationships within a voicing, click on it and hear it. At the bottom of the page is also a video demonstrating all these chord voicings in one track... Hope you like it!

The Dominant Ninth Chord (like A9) is used frequently in many styles from jazz to funk and rock. Due to its construction consisting of five notes e.g. root, third, fifth, dominant seventh and ninth, there are many different possibilities to finger this very versatile chord. Adding various string combinations makes it even harder to remember more than the obvious ones. To help the guitar community (myself included) mastering this task, I collected 25 different fingerings using 5 distinctive string combinations on this graphic page https://www.guitar.ch/en-us/guitar/chord/chord-7-9-interval.html There you can see all the intervallic relationships within a voicing, click on it and hear it. At the bottom of the page is also a video demonstrating all these chord voicings in one track... Hope you like it!

The Dominant Ninth Chord (like A9) is used frequently in many styles from funk to rock and jazz. Due to its construction consisting of five notes e.g. root, third, fifth, dominant seventh and ninth, there are many different possibilities to finger this very versatile chord. Adding various string combinations makes it even harder to remember more than the obvious ones. To help the guitar community (myself included) mastering this task, I collected 25 different fingerings using 5 distinctive string combinations on this graphic page https://www.guitar.ch/en-us/guitar/chord/chord-7-9-interval.html There you can see all the intervallic relationships within a voicing, click on it and hear it. At the bottom of the page is also a video demonstrating all these chord voicings in one track... Hope you like it!