A ninth chord is a chord that encompasses the interval of a ninth when arranged in close position with the root in the bass.[2]
A dominant ninth is a dominant chord with a ninth. A ninth chord, as an extended chord, typically includes the seventh along with the basic triad structure. Thus, a Cmaj9 consists of C E G B and D 
play (help·info). When the symbol "9" is not preceded by the word "major" or "maj", the implied seventh is a dominant seventh—e.g. a C9 consists of C E G B♭ and D play (help·info), and would usually be expected to resolve into a chord of F major (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.[3]
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".[4] The 9th and 7th usually resolve downward to the 5th and 3rd of I.[4]
The minor ninth chord is played with the third and seventh both flattened. The formula is 1, ♭3, 5, ♭7, 9. This chord is written as Cm9. This chord has a more "bluesy" sound and fits very well with the dominant 9th.
Play (help·info)Dominant minor ninth chord consists of a major third, perfect fifth, minor seventh, and minor ninth. In C: G B D F A♭. Fétis tuned the chord 8:10:12:14:17.[3]
An added ninth chord is a major triad with an added ninth. Thus, Cadd9 consists of C E G and D. (The D, which might be called an added second, is two fifths up from the root.) Added ninth chords differ from other ninth chords because the seventh is not included.
The 6/9 chord is a pentad in which a major triad is extended with a sixth and 9th above the root, but no seventh, thus: 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. Its constituent notes are those of the pentatonic scale.[8]
Heinrich Schenker, though he allowed the substitution of the dominant seventh, leading-tone, and leading tone half-diminished seventh chords, 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.[9]
Second [link]
In music, the second factor of a chord is the note or pitch two scale degrees above the root or tonal center. When the second is the bass note, or lowest note, of the expressed chord, the chord is in third inversion Play (help·info). However, this is equivalent to a gapped eleventh chord.
Conventionally, the second is third in importance to the root, fifth, and third, being an added tone. It is generally not allowed as the root since that inversion resembles an eleventh chord on the second rather than an added tone chord on the original note. In jazz chords and theory, the second is required due to its being an added tone.
The quality of the second may be determined by the scale or may be indicated. For example, in both a major and minor scale a diatonic second added to the tonic chord will be major (C-D-E-G or C-D-E♭-G) while one added to the dominant chord will be major or minor (G-A-B-D or G-A♭-B♭-D), respectively.
The second is octave equivalent to the ninth. If one could cut out the note in between the fifth and the ninth and then drop the ninth down an octave to a second, one would have a second chord (CEGB♭D' – B♭ = CDEG). The difference between sus2 and add9 is conventionally the absence or presence, respectively, of the third.
See also [link]
Sources [link]
- ^ Stephenson, Ken (2002). What to Listen for in Rock: A Stylistic Analysis, p.85. ISBN 978-0-300-09239-4.
- ^ Sadie, Stanley, ed. (1980). "Ninth chord", p.252, The New Grove Dictionary of Music and Musicians, vol. 13. ISBN 1-56159-174-2.
- ^ a b Fétis, François-Joseph and Arlin, Mary I. (1994). Esquisse de l'histoire de l'harmonie, p.139n9. ISBN 978-0-945193-51-7.
- ^ a b c Benward & Saker (2009). Music in Theory and Practice: Volume II, p.183-84. Eighth Edition. ISBN 978-0-07-310188-0.
- ^ Benward & Saker (2009), p.179.
- ^ Walter Everett (Autumn, 2004). "A Royal Scam: The Abstruse and Ironic Bop-Rock Harmony of Steely Dan", p.208-209, Music Theory Spectrum, Vol. 26, No. 2, pp. 201-235.
- ^ Berg, Shelly (2005). Alfred's Essentials of Jazz Theory, Book 3, p.90. ISBN 978-0-7390-3089-9.
- ^ Jazz Lessons
- ^ Schenker, Heinrich (1980). Harmony, p.190. ISBN 978-0-226-73734-8.
- ^ Kostka & Payne (1995). Tonal Harmony, p.431. Third Edition. ISBN 0-07-300056-6.
- ^ Hawkins, Stan. "Prince- Harmonic Analysis of 'Anna Stesia'", p.329 and 334n7, Popular Music, Vol. 11, No. 3 (Oct., 1992), pp. 325-335.
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https://wn.com/Ninth_chord
Ninth
In music, a ninth is a compound interval consisting of an octave plus a second.
Like the second, the interval of a ninth is classified as a dissonance in common practice tonality. Since a ninth is an octave larger than a second, its sonority level is considered less dense.
Major ninth
A major ninth is a compound musical interval spanning 14 semitones, or an octave plus 2 semitones. If transposed into a single octave, it becomes a major second or minor seventh. The major ninth is somewhat dissonant in sound.
Transposition
Some common transposing instruments sound a major ninth lower than written. These include the tenor saxophone, the bass clarinet, the baritone/euphonium when written in treble clef, and the trombone when written in treble clef (British brass band music).
When baritone/euphonium or trombone parts are written in bass clef or tenor clef they sound as written.
Minor ninth
A minor ninth (m9 or -9) is a compound musical interval spanning 13 semitones, or 1 semitone above an octave (thus it is enharmonically equivalent to an augmented octave). If transposed into a single octave, it becomes a minor second or major seventh. The minor ninth is rather dissonant in sound, and in European classical music, often appears as a suspension. Béla Bartók wrote a study in minor 9ths for piano. The fourth movement (an intermezzo) of Robert Schumann's Faschingsschwank aus Wien, is a constructed to feature prominent notes of the melody a minor ninth above the accompaniment:
Podcasts:
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by Magic
Ninth Ward
by: MagicI'm from the ninth ward
(Been there since the day I was born)
From the ninth ward
(Got us coming up like a storm)
From the ninth ward
(Niggas better sound the alarm)
Here come the ninth ward, ninth ward hard
Bitch, I was born and raised in the ninth ward
So you niggas don't bother me
You can say what you may about the ninth ward
But I bet you won't follow me
'Cross that canal where my niggas dwell
You know me well
'Cause I sold rocks, upon my block
Till I was hotter than hell
Every nigga down here remember me
Nothin' really changed but my gold teeth
I'm still that same nigga from my Flood Street
Only difference now is that I'm on my feet
And I don't sell dope no mo'
Don't rob no mo'
Mane a nigga don't plot no mo'
'Cause I'm performing in shows
Shakin' off hoes
Smokin' on optimos
It'll be a World War 3 fuck with me
Now my niggas won't let that ride
I'm the only nigga out there screaming 9th Ward
So people tryin' to keep me alive
Everywhere I go they see the nine on my arm
And they swear that I'm in a gang
But nigga this is a warning, I'm 'bout my hands
Like I'm 'bout them motherfucking thangs
I'm trouble starter just like my father
He was raised in the nine
So if you cut my arm it still tated in my mind
No matter millions or which ever the situation might come
I'll never forget you niggas
Never forget where the fuck I'm from
I'm from the ninth ward
(Been there since the day I was born)
From the ninth ward
(Got us coming up like a storm)
From the ninth ward
(Niggas better sound the alarm)
Here come the ninth ward, ninth ward hard
I'm from the ninth ward
(Been there since the day I was born)
From the ninth ward
(Got us coming up like a storm)
From the ninth ward
(Niggas better sound the alarm)
Here come the ninth ward, ninth ward hard
You know, you could take the nigga out the nine
But you can't take the nine out of nigga
Pulling capers is my nature
I'm addicted to making paper
Got my own way of living
Bitch, I'm from the C T C
Where niggas roam around looking for beef
Killing for free
I take this ward shit to heart
It's tated on my arm
So me and my niggas never part
I keep you niggas in my mind
For every clucker that I serve
For every nigga that I shot
For every tourist that I robbed
To every goddamn rock
For every cop that done chased me
To the bitches that hate me
What have you done for me lately
For every neighbor that was peeking at four o'clock in da morn
It never helped to lock me up
You could've left me alone
We learned to improvise on my block
Never had a ball
We played football wit' a concrete rock
Now picture that
I could never forget my mission
I'm a turn the nine into something bigger that yo' vision
Before I'm done the world'll scream
I'm from the ninth ward
(Been there since the day I was born)
From the ninth ward
(Got us coming up like a storm)
From the ninth ward
(Niggas better sound the alarm)
Here come the ninth ward, ninth ward hard
I'm from the ninth ward
(Been there since the day I was born)
From the ninth ward
(Got us coming up like a storm)
From the ninth ward
(Niggas better sound the alarm)