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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. [17] The second degree is octave equivalent to the ninth.
The added-sixth chord (notated "6") is rarely inverted since it shares its notes with a seventh chord a minor third down (e.g. C 6 has the same notes as an Am 7), although a counterexample is The 5th Dimension's recorded version of "Stoned Soul Picnic" (on 5). [7]
One way is to simply use the word 'add', for example, C add 9. The second way is to use 2 instead of 9, implying that it is not a seventh chord, for instance, C 2. Note that this provides other ways of showing a ninth chord, for instance, C 7add 9, C 7add 2, or C 7/9. Generally however, this is shown as simply C 9, which
[12] In jazz, 7 ♯ 9 chords, along with 7 ♭ 9 chords, are often employed as the dominant chord in a minor ii–V–I turnaround. For example, a ii–V–I in C minor could be played as: Dm 7 ♭ 5 – G 7 ♯ 9 – Cm 7. The 7 ♯ 9 represents a major divergence from the world of tertian chord theory, where chords are stacks of major and ...
Dominant ninth chord on C. Play ⓘ Major ninth chord on C. Play ⓘ Minor ninth chord on C. Play ⓘ Three types of ninth chords may be distinguished: dominant (9), major (M9), and minor (m9). [3] [4] They may easily be remembered as the chord quality of the seventh does not change with the addition of the second scale degree, [3] which is a ...
0 4 7 9: Major Major sixth ninth chord ("6 add 9", [2] Nine six, [3] 6/9) Play ...
Example 1: Below, a common voicing used by jazz pianists is given for the chord C 7 ♯ 9 (C major chord with a minor 7th, and extended with an augmented 9th). In the lower stave the notes E ♮ and B ♭ are given. These form a tritone which defines the dominant sound, and are the major 3rd and minor 7th of the C 7 ♯ 9 chord.
Jazz chord-playing musicians may also add altered chord tones (e.g., ♯ 11) and added tones. An example of an altered dominant chord in the key of C, built on a G would be to voice the chord as "B–C ♯ –E–F–A ♭"; this would be G 7(♭ 9 ♯ 11).
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