{"id":13625,"date":"2016-06-07T00:00:00","date_gmt":"2016-06-07T08:00:00","guid":{"rendered":"http:\/\/www.hearandplay.com\/main\/?p=13625"},"modified":"2024-10-07T18:02:25","modified_gmt":"2024-10-08T02:02:25","slug":"voicing-of-the-dominant-ninth-chord","status":"publish","type":"post","link":"https:\/\/hearplaymain.wpenginepowered.com\/voicing-of-the-dominant-ninth-chord\/","title":{"rendered":"The Voicing Of The Dominant Ninth Chord Using The Half-Diminished Seventh Chord"},"content":{"rendered":"

In today’s lesson, you’ll gain a fresh perspective to the voicing of the dominant ninth chord.<\/p>\n

We’ll also take a look at the concept of chord voicing, the principles of the “part-over-root” voicing concept, and more. But before we get into all that, let’s do a review on the dominant ninth chord.<\/p>\n

A Review On The Dominant Ninth Chord<\/h2>\n

The term dominant ninth chord consists of three words – dominant, ninth, and chord. Let’s look at the meaning of these words.<\/p>\n

The Term “Chord”<\/h3>\n

A chord is a collection of related notes<\/strong> that are played or heard together. All chords have one thing in common and that’s the relationship between the notes<\/em> which is based on a given scale and a class of harmony.<\/p>\n

The notes that form a chord must be related by a particular scale. For example, the C major triad, contains C, E, and G:
\n
\n…which are related by the C major scale:
\n
\nC, E, and G are the first, third, and fifth tones of the C major scale.<\/p>\n

The notes of a chord are also related by a class of harmony. This has to do with the distance between successive notes in a chord, which can be in seconds:
\n
\n…thirds:
\n
\n…fourths:
\n
\n…and fifths:
\n<\/p>\n

However, take note that the traditional class of harmony that is used in chord formation is thirds (aka – “tertian harmony”.)<\/p>\n

The Term “Ninth”<\/h3>\n

Chords are quantified using the number of scale degrees they encompass. Ninth chords are chords that encompass nine degrees of a given scale<\/p>\n

Using the C major scale:
\n
\n…you can form a ninth chord by stacking thirds until you encompass nine degrees of the C major scale.<\/p>\n

Check it out…<\/p>\n

Starting from C:
\n
\n…a third from C is E:
\n
\n…a third from C-E is G:
\n
\n….a third from C-E-G is B:
\n
\n…a third from C-E-G-B is D:
\n
\nAt this point, we’ve encompassed nine degrees of the C major scale – from C to D:
\n
\n…and here we are with the C major ninth chord:
\n
\n…which is a ninth chord, notwithstanding that it’s not a dominant ninth chord (which we’ll be discussing shortly.)<\/p>\n

The Term “Dominant”<\/h3>\n

The degrees of the major [and minor] scale are associated with technical names. The term dominant <\/em>is the technical name associated with the fifth degree of the scale. In the key of C major:
\n
\n…the fifth tone (G):
\n
\n…is considered to be the dominant.<\/p>\n

Whenever any idea is said to be dominant<\/em> in music, it has a lot to do with the fifth degree of the scale.<\/p>\n

In a nutshell, the dominant ninth chord is a collection of notes (encompassing nine degrees of the mixolydian mode) that are related by the traditional harmony of thirds (aka – “tertian harmony”.)<\/p>\n

The Dominant Ninth Chord<\/h3>\n

The dominant ninth chord belongs to a class of chords that are built on the fifth degree<\/strong> of the scale (aka – “the dominant”.) In the key of C:
\n
\n…where G is the dominant, the dominant ninth chord is built off G:
\n
\n…and extends to A:
\n
\n…in interval of thirds:
\n
\n…and encompassing nine scale degrees. The scale relationship of the tones of the dominant seventh chord is connected to the mixolydian mode<\/strong>. Therefore using the mixolydian mode in any key on the keyboard, you can form the dominant ninth chord.<\/p>\n

The G dominant ninth chord:
\n
\n…is built off the G mixolydian scale:
\n
\nAttention:<\/strong> The mixolydian mode can be formed using any known major scale. Lowering the seventh tone of any known major scale produces its corresponding mixolydian mode.<\/p>\n

A Note On The Concept Of Voicing<\/h2>\n

The understanding of the concept of voicing comes next after mastering chords, its formation, inversion, and all worth naught. Voicing is the consideration of the notes of a chord as voices<\/em> or voice parts<\/em>.<\/p>\n

In a modern choir, there are basically four voice parts. Here are the voices ordered from the lowest to the highest in pitch<\/p>\n

Bass<\/p>\n

Tenor<\/p>\n

Alto<\/p>\n

Soprano<\/p><\/blockquote>\n

The concept of the voicing of chords has to do with the consideration of chord tones as voice parts – soprano, alto, tenor, and bass.<\/p>\n

In the past, we’ve made attempts to unravel several voicing techniques ranging from the skeleton voicing<\/a> technique, to the drop-2 voicing<\/a> technique, and lots more. In the next segment, we will be discussing the “part-over-root” voicing of the dominant ninth chord extensively.<\/p>\n

Brace yourself!<\/p>\n

The “Part-Over-Root” Voicing Technique<\/h2>\n

The “part-over-root” voicing technique is the arrangement of the notes of a chord in such a way that the root is isolated from other chord tones. Here’s the G dominant ninth chord:<\/p>\n

If the bass is isolated from the rest of the chord tones, this produces the “part-over-root” voicing of the G dominant ninth chord:
\n
\n…and as its name implies, the part is played over the root.<\/p>\n

We’re already familiar with the root (which is G):
\n
\n…so, the question is “what is the part?”<\/em><\/p>\n

The upper structure<\/em> of the G dominant ninth chord:
\n
\n…is the B half-diminished seventh chord:
\n<\/p>\n

Simply put, the B half-diminished seventh chord [the part] over G [the root]:
\n
\n…produces an overall G dominant ninth chord:
\n
\nLet\u2019s do a little more study on the formation of the part over root voicing of the dominant ninth chord.<\/p>\n

Easy Steps To The “Part-Over-Root” Voicing Of The Dominant Ninth Chord<\/h3>\n

There’s a way to form the dominant ninth chord using two simple steps. Check it out…<\/p>\n

Step 1<\/strong> – Determine the root of the dominant ninth chord<\/p>\n

Step 2<\/strong> – Go to the third degree of the major scale [in the key you derived in step 1] and form a half-diminished seventh chord.<\/p>\n

Suggested reading: The Half-Diminished Seventh Chord<\/a>.<\/p>\n

Let’s put these steps into practice.<\/p>\n

Formation Of The C Dominant ninth Chord<\/strong><\/p>\n

Step 1 – Determine the root of the dominant ninth chord.<\/em><\/p>\n

The root of the chord is C:
\n
\nStep 2 – Go to the third degree of the major scale and form a minor seventh chord.<\/em><\/p>\n

The third degree of the C major scale:
\n
\n…is E:
\n
\n…consequently, the E half-diminished seventh chord:
\n
\nAltogether, the E half-diminished seventh chord over C on the bass:
\n
\n…produces the part over root voicing of the C dominant ninth chord.<\/p>\n

Formation Of The E Dominant ninth Chord<\/strong><\/p>\n

Step 1 – Determine the root of the dominant ninth chord.<\/em><\/p>\n

The root of the chord is E:
\n
\nStep 2 – Go to the third degree of the major scale and form a half-diminished seventh chord.<\/em><\/p>\n

The third degree of the E major scale:
\n
\n…is G#:
\n
\n…consequently, the G# half-diminished seventh chord:
\n
\nAltogether, the G# half-diminished seventh chord over E on the bass:
\n
\n…produces the part over root voicing of the E dominant ninth chord.<\/p>\n

Following the same procedure, you can form the part over root voicing of the dominant ninth chord on all the keys.<\/p>\n

Final Words<\/h2>\n

The half-diminished seventh chord is one of the rarely used seventh chords and I’m glad we just put it to work in the voicing of the dominant ninth chord.<\/p>\n

If you’re still finding it difficult to play the half-diminished seventh chord in all the keys, I hope these ones will help…<\/p>\n

C half diminished seventh chord:
\n
\nC# half diminished seventh chord:
\n
\nD half diminished seventh chord:
\n
\nD# half diminished seventh chord:
\n
\nE half diminished seventh chord:
\n
\nF half diminished seventh chord:
\n
\nF# half diminished seventh chord:
\n
\nG half diminished seventh chord:
\n
\nG# half diminished seventh chord:
\n
\nA half diminished seventh chord:
\n
\nA# half diminished seventh chord:
\n
\nB half diminished seventh chord:
\n
\nThat will be all for now. See you in another post.<\/p>\n","protected":false},"excerpt":{"rendered":"

In this lesson, we’re looking at the voicing of the dominant ninth chord using the “part-over-root” voicing concept.<\/p>\n","protected":false},"author":9,"featured_media":22836,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[9],"tags":[],"class_list":["post-13625","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-piano","post-wrapper","thrv_wrapper"],"yoast_head":"\nThe Voicing Of The Dominant Ninth Chord Using The Half-Diminished Seventh Chord - Hear and Play Music Learning Center<\/title>\n<meta name=\"description\" content=\"In this lesson, we're looking at the voicing of the dominant ninth chord using the "part-over-root" voicing concept.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/hearplaymain.wpenginepowered.com\/voicing-of-the-dominant-ninth-chord\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"The Voicing Of The Dominant Ninth Chord Using The Half-Diminished Seventh Chord - Hear and Play Music Learning Center\" \/>\n<meta property=\"og:description\" content=\"In this lesson, we're looking at the voicing of the dominant ninth chord using the "part-over-root" voicing concept.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/hearplaymain.wpenginepowered.com\/voicing-of-the-dominant-ninth-chord\/\" \/>\n<meta property=\"og:site_name\" content=\"Hear and Play Music Learning Center\" \/>\n<meta property=\"article:published_time\" content=\"2016-06-07T08:00:00+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2024-10-08T02:02:25+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/www.hearandplay.com\/main\/wp-content\/uploads\/2016\/06\/The-Voicing-Of-The-Dominant-Ninth-Chord-Using-The-Half-Diminished-Seventh-Chord.jpg\" \/>\n<meta name=\"author\" content=\"Chuku Onyemachi\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:image\" content=\"https:\/\/www.hearandplay.com\/main\/wp-content\/uploads\/2016\/06\/The-Voicing-Of-The-Dominant-Ninth-Chord-Using-The-Half-Diminished-Seventh-Chord.jpg\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"Chuku Onyemachi\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"6 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\\\/\\\/hearplaymain.wpenginepowered.com\\\/voicing-of-the-dominant-ninth-chord\\\/#article\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/hearplaymain.wpenginepowered.com\\\/voicing-of-the-dominant-ninth-chord\\\/\"},\"author\":{\"name\":\"Chuku Onyemachi\",\"@id\":\"https:\\\/\\\/hearplaymain.wpenginepowered.com\\\/#\\\/schema\\\/person\\\/7e6d55b45f437c27bc2d4581247f9cbe\"},\"headline\":\"The Voicing Of The Dominant Ninth Chord Using The Half-Diminished Seventh Chord\",\"datePublished\":\"2016-06-07T08:00:00+00:00\",\"dateModified\":\"2024-10-08T02:02:25+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\\\/\\\/hearplaymain.wpenginepowered.com\\\/voicing-of-the-dominant-ninth-chord\\\/\"},\"wordCount\":1274,\"commentCount\":2,\"publisher\":{\"@id\":\"https:\\\/\\\/hearplaymain.wpenginepowered.com\\\/#organization\"},\"image\":{\"@id\":\"https:\\\/\\\/hearplaymain.wpenginepowered.com\\\/voicing-of-the-dominant-ninth-chord\\\/#primaryimage\"},\"thumbnailUrl\":\"https:\\\/\\\/hearplaymain.wpenginepowered.com\\\/wp-content\\\/uploads\\\/2016\\\/06\\\/The-Voicing-Of-The-Dominant-Ninth-Chord-Using-The-Half-Diminished-Seventh-Chord.jpg\",\"articleSection\":[\"Piano\"],\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"CommentAction\",\"name\":\"Comment\",\"target\":[\"https:\\\/\\\/hearplaymain.wpenginepowered.com\\\/voicing-of-the-dominant-ninth-chord\\\/#respond\"]}]},{\"@type\":\"WebPage\",\"@id\":\"https:\\\/\\\/hearplaymain.wpenginepowered.com\\\/voicing-of-the-dominant-ninth-chord\\\/\",\"url\":\"https:\\\/\\\/hearplaymain.wpenginepowered.com\\\/voicing-of-the-dominant-ninth-chord\\\/\",\"name\":\"The Voicing Of The Dominant Ninth Chord Using The Half-Diminished Seventh Chord - Hear and Play Music Learning Center\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/hearplaymain.wpenginepowered.com\\\/#website\"},\"primaryImageOfPage\":{\"@id\":\"https:\\\/\\\/hearplaymain.wpenginepowered.com\\\/voicing-of-the-dominant-ninth-chord\\\/#primaryimage\"},\"image\":{\"@id\":\"https:\\\/\\\/hearplaymain.wpenginepowered.com\\\/voicing-of-the-dominant-ninth-chord\\\/#primaryimage\"},\"thumbnailUrl\":\"https:\\\/\\\/hearplaymain.wpenginepowered.com\\\/wp-content\\\/uploads\\\/2016\\\/06\\\/The-Voicing-Of-The-Dominant-Ninth-Chord-Using-The-Half-Diminished-Seventh-Chord.jpg\",\"datePublished\":\"2016-06-07T08:00:00+00:00\",\"dateModified\":\"2024-10-08T02:02:25+00:00\",\"description\":\"In this lesson, we're looking at the voicing of the dominant ninth chord using the \\\"part-over-root\\\" voicing concept.\",\"breadcrumb\":{\"@id\":\"https:\\\/\\\/hearplaymain.wpenginepowered.com\\\/voicing-of-the-dominant-ninth-chord\\\/#breadcrumb\"},\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\\\/\\\/hearplaymain.wpenginepowered.com\\\/voicing-of-the-dominant-ninth-chord\\\/\"]}]},{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\\\/\\\/hearplaymain.wpenginepowered.com\\\/voicing-of-the-dominant-ninth-chord\\\/#primaryimage\",\"url\":\"https:\\\/\\\/hearplaymain.wpenginepowered.com\\\/wp-content\\\/uploads\\\/2016\\\/06\\\/The-Voicing-Of-The-Dominant-Ninth-Chord-Using-The-Half-Diminished-Seventh-Chord.jpg\",\"contentUrl\":\"https:\\\/\\\/hearplaymain.wpenginepowered.com\\\/wp-content\\\/uploads\\\/2016\\\/06\\\/The-Voicing-Of-The-Dominant-Ninth-Chord-Using-The-Half-Diminished-Seventh-Chord.jpg\",\"width\":1000,\"height\":667},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\\\/\\\/hearplaymain.wpenginepowered.com\\\/voicing-of-the-dominant-ninth-chord\\\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Home\",\"item\":\"https:\\\/\\\/hearplaymain.wpenginepowered.com\\\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"The Voicing Of The Dominant Ninth Chord Using The Half-Diminished Seventh Chord\"}]},{\"@type\":\"WebSite\",\"@id\":\"https:\\\/\\\/hearplaymain.wpenginepowered.com\\\/#website\",\"url\":\"https:\\\/\\\/hearplaymain.wpenginepowered.com\\\/\",\"name\":\"Hear and Play Music Learning Center\",\"description\":\"Tips, tricks, advice, articles, and music lessons about playing by ear from musician extraordinaire and online teacher, Jermaine Griggs.\",\"publisher\":{\"@id\":\"https:\\\/\\\/hearplaymain.wpenginepowered.com\\\/#organization\"},\"potentialAction\":[{\"@type\":\"SearchAction\",\"target\":{\"@type\":\"EntryPoint\",\"urlTemplate\":\"https:\\\/\\\/hearplaymain.wpenginepowered.com\\\/?s={search_term_string}\"},\"query-input\":{\"@type\":\"PropertyValueSpecification\",\"valueRequired\":true,\"valueName\":\"search_term_string\"}}],\"inLanguage\":\"en-US\"},{\"@type\":\"Organization\",\"@id\":\"https:\\\/\\\/hearplaymain.wpenginepowered.com\\\/#organization\",\"name\":\"Hear and Play Music Learning Center\",\"url\":\"https:\\\/\\\/hearplaymain.wpenginepowered.com\\\/\",\"logo\":{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\\\/\\\/hearplaymain.wpenginepowered.com\\\/#\\\/schema\\\/logo\\\/image\\\/\",\"url\":\"https:\\\/\\\/hearplaymain.wpenginepowered.com\\\/wp-content\\\/uploads\\\/2024\\\/07\\\/hp-logo-blk-1.png\",\"contentUrl\":\"https:\\\/\\\/hearplaymain.wpenginepowered.com\\\/wp-content\\\/uploads\\\/2024\\\/07\\\/hp-logo-blk-1.png\",\"width\":3189,\"height\":789,\"caption\":\"Hear and Play Music Learning Center\"},\"image\":{\"@id\":\"https:\\\/\\\/hearplaymain.wpenginepowered.com\\\/#\\\/schema\\\/logo\\\/image\\\/\"}},{\"@type\":\"Person\",\"@id\":\"https:\\\/\\\/hearplaymain.wpenginepowered.com\\\/#\\\/schema\\\/person\\\/7e6d55b45f437c27bc2d4581247f9cbe\",\"name\":\"Chuku Onyemachi\",\"image\":{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\\\/\\\/secure.gravatar.com\\\/avatar\\\/605a403a190fa18ea865a5801bece94a303cccd7af12d81dcaba2a492168cc92?s=96&d=mm&r=g\",\"url\":\"https:\\\/\\\/secure.gravatar.com\\\/avatar\\\/605a403a190fa18ea865a5801bece94a303cccd7af12d81dcaba2a492168cc92?s=96&d=mm&r=g\",\"contentUrl\":\"https:\\\/\\\/secure.gravatar.com\\\/avatar\\\/605a403a190fa18ea865a5801bece94a303cccd7af12d81dcaba2a492168cc92?s=96&d=mm&r=g\",\"caption\":\"Chuku Onyemachi\"},\"sameAs\":[\"http:\\\/\\\/www.hearandplay.com\\\/main\\\/author\\\/onye\"],\"url\":\"https:\\\/\\\/hearplaymain.wpenginepowered.com\\\/author\\\/onye\\\/\"}]}<\/script>\n<!-- \/ Yoast SEO plugin. -->","yoast_head_json":{"title":"The Voicing Of The Dominant Ninth Chord Using The Half-Diminished Seventh Chord - Hear and Play Music Learning Center","description":"In this lesson, we're looking at the voicing of the dominant ninth chord using the \"part-over-root\" voicing concept.","robots":{"index":"index","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"canonical":"https:\/\/hearplaymain.wpenginepowered.com\/voicing-of-the-dominant-ninth-chord\/","og_locale":"en_US","og_type":"article","og_title":"The Voicing Of The Dominant Ninth Chord Using The Half-Diminished Seventh Chord - Hear and Play Music Learning Center","og_description":"In this lesson, we're looking at the voicing of the dominant ninth chord using the \"part-over-root\" voicing concept.","og_url":"https:\/\/hearplaymain.wpenginepowered.com\/voicing-of-the-dominant-ninth-chord\/","og_site_name":"Hear and Play Music Learning Center","article_published_time":"2016-06-07T08:00:00+00:00","article_modified_time":"2024-10-08T02:02:25+00:00","og_image":[{"url":"https:\/\/www.hearandplay.com\/main\/wp-content\/uploads\/2016\/06\/The-Voicing-Of-The-Dominant-Ninth-Chord-Using-The-Half-Diminished-Seventh-Chord.jpg","type":"","width":"","height":""}],"author":"Chuku Onyemachi","twitter_card":"summary_large_image","twitter_image":"https:\/\/www.hearandplay.com\/main\/wp-content\/uploads\/2016\/06\/The-Voicing-Of-The-Dominant-Ninth-Chord-Using-The-Half-Diminished-Seventh-Chord.jpg","twitter_misc":{"Written by":"Chuku Onyemachi","Est. reading time":"6 minutes"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"Article","@id":"https:\/\/hearplaymain.wpenginepowered.com\/voicing-of-the-dominant-ninth-chord\/#article","isPartOf":{"@id":"https:\/\/hearplaymain.wpenginepowered.com\/voicing-of-the-dominant-ninth-chord\/"},"author":{"name":"Chuku Onyemachi","@id":"https:\/\/hearplaymain.wpenginepowered.com\/#\/schema\/person\/7e6d55b45f437c27bc2d4581247f9cbe"},"headline":"The Voicing Of The Dominant Ninth Chord Using The Half-Diminished Seventh Chord","datePublished":"2016-06-07T08:00:00+00:00","dateModified":"2024-10-08T02:02:25+00:00","mainEntityOfPage":{"@id":"https:\/\/hearplaymain.wpenginepowered.com\/voicing-of-the-dominant-ninth-chord\/"},"wordCount":1274,"commentCount":2,"publisher":{"@id":"https:\/\/hearplaymain.wpenginepowered.com\/#organization"},"image":{"@id":"https:\/\/hearplaymain.wpenginepowered.com\/voicing-of-the-dominant-ninth-chord\/#primaryimage"},"thumbnailUrl":"https:\/\/hearplaymain.wpenginepowered.com\/wp-content\/uploads\/2016\/06\/The-Voicing-Of-The-Dominant-Ninth-Chord-Using-The-Half-Diminished-Seventh-Chord.jpg","articleSection":["Piano"],"inLanguage":"en-US","potentialAction":[{"@type":"CommentAction","name":"Comment","target":["https:\/\/hearplaymain.wpenginepowered.com\/voicing-of-the-dominant-ninth-chord\/#respond"]}]},{"@type":"WebPage","@id":"https:\/\/hearplaymain.wpenginepowered.com\/voicing-of-the-dominant-ninth-chord\/","url":"https:\/\/hearplaymain.wpenginepowered.com\/voicing-of-the-dominant-ninth-chord\/","name":"The Voicing Of The Dominant Ninth Chord Using The Half-Diminished Seventh Chord - Hear and Play Music Learning Center","isPartOf":{"@id":"https:\/\/hearplaymain.wpenginepowered.com\/#website"},"primaryImageOfPage":{"@id":"https:\/\/hearplaymain.wpenginepowered.com\/voicing-of-the-dominant-ninth-chord\/#primaryimage"},"image":{"@id":"https:\/\/hearplaymain.wpenginepowered.com\/voicing-of-the-dominant-ninth-chord\/#primaryimage"},"thumbnailUrl":"https:\/\/hearplaymain.wpenginepowered.com\/wp-content\/uploads\/2016\/06\/The-Voicing-Of-The-Dominant-Ninth-Chord-Using-The-Half-Diminished-Seventh-Chord.jpg","datePublished":"2016-06-07T08:00:00+00:00","dateModified":"2024-10-08T02:02:25+00:00","description":"In this lesson, we're looking at the voicing of the dominant ninth chord using the \"part-over-root\" voicing concept.","breadcrumb":{"@id":"https:\/\/hearplaymain.wpenginepowered.com\/voicing-of-the-dominant-ninth-chord\/#breadcrumb"},"inLanguage":"en-US","potentialAction":[{"@type":"ReadAction","target":["https:\/\/hearplaymain.wpenginepowered.com\/voicing-of-the-dominant-ninth-chord\/"]}]},{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/hearplaymain.wpenginepowered.com\/voicing-of-the-dominant-ninth-chord\/#primaryimage","url":"https:\/\/hearplaymain.wpenginepowered.com\/wp-content\/uploads\/2016\/06\/The-Voicing-Of-The-Dominant-Ninth-Chord-Using-The-Half-Diminished-Seventh-Chord.jpg","contentUrl":"https:\/\/hearplaymain.wpenginepowered.com\/wp-content\/uploads\/2016\/06\/The-Voicing-Of-The-Dominant-Ninth-Chord-Using-The-Half-Diminished-Seventh-Chord.jpg","width":1000,"height":667},{"@type":"BreadcrumbList","@id":"https:\/\/hearplaymain.wpenginepowered.com\/voicing-of-the-dominant-ninth-chord\/#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Home","item":"https:\/\/hearplaymain.wpenginepowered.com\/"},{"@type":"ListItem","position":2,"name":"The Voicing Of The Dominant Ninth Chord Using The Half-Diminished Seventh Chord"}]},{"@type":"WebSite","@id":"https:\/\/hearplaymain.wpenginepowered.com\/#website","url":"https:\/\/hearplaymain.wpenginepowered.com\/","name":"Hear and Play Music Learning Center","description":"Tips, tricks, advice, articles, and music lessons about playing by ear from musician extraordinaire and online teacher, Jermaine Griggs.","publisher":{"@id":"https:\/\/hearplaymain.wpenginepowered.com\/#organization"},"potentialAction":[{"@type":"SearchAction","target":{"@type":"EntryPoint","urlTemplate":"https:\/\/hearplaymain.wpenginepowered.com\/?s={search_term_string}"},"query-input":{"@type":"PropertyValueSpecification","valueRequired":true,"valueName":"search_term_string"}}],"inLanguage":"en-US"},{"@type":"Organization","@id":"https:\/\/hearplaymain.wpenginepowered.com\/#organization","name":"Hear and Play Music Learning Center","url":"https:\/\/hearplaymain.wpenginepowered.com\/","logo":{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/hearplaymain.wpenginepowered.com\/#\/schema\/logo\/image\/","url":"https:\/\/hearplaymain.wpenginepowered.com\/wp-content\/uploads\/2024\/07\/hp-logo-blk-1.png","contentUrl":"https:\/\/hearplaymain.wpenginepowered.com\/wp-content\/uploads\/2024\/07\/hp-logo-blk-1.png","width":3189,"height":789,"caption":"Hear and Play Music Learning Center"},"image":{"@id":"https:\/\/hearplaymain.wpenginepowered.com\/#\/schema\/logo\/image\/"}},{"@type":"Person","@id":"https:\/\/hearplaymain.wpenginepowered.com\/#\/schema\/person\/7e6d55b45f437c27bc2d4581247f9cbe","name":"Chuku Onyemachi","image":{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/secure.gravatar.com\/avatar\/605a403a190fa18ea865a5801bece94a303cccd7af12d81dcaba2a492168cc92?s=96&d=mm&r=g","url":"https:\/\/secure.gravatar.com\/avatar\/605a403a190fa18ea865a5801bece94a303cccd7af12d81dcaba2a492168cc92?s=96&d=mm&r=g","contentUrl":"https:\/\/secure.gravatar.com\/avatar\/605a403a190fa18ea865a5801bece94a303cccd7af12d81dcaba2a492168cc92?s=96&d=mm&r=g","caption":"Chuku Onyemachi"},"sameAs":["http:\/\/www.hearandplay.com\/main\/author\/onye"],"url":"https:\/\/hearplaymain.wpenginepowered.com\/author\/onye\/"}]}},"_links":{"self":[{"href":"https:\/\/hearplaymain.wpenginepowered.com\/wp-json\/wp\/v2\/posts\/13625","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/hearplaymain.wpenginepowered.com\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/hearplaymain.wpenginepowered.com\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/hearplaymain.wpenginepowered.com\/wp-json\/wp\/v2\/users\/9"}],"replies":[{"embeddable":true,"href":"https:\/\/hearplaymain.wpenginepowered.com\/wp-json\/wp\/v2\/comments?post=13625"}],"version-history":[{"count":0,"href":"https:\/\/hearplaymain.wpenginepowered.com\/wp-json\/wp\/v2\/posts\/13625\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/hearplaymain.wpenginepowered.com\/wp-json\/wp\/v2\/media\/22836"}],"wp:attachment":[{"href":"https:\/\/hearplaymain.wpenginepowered.com\/wp-json\/wp\/v2\/media?parent=13625"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/hearplaymain.wpenginepowered.com\/wp-json\/wp\/v2\/categories?post=13625"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/hearplaymain.wpenginepowered.com\/wp-json\/wp\/v2\/tags?post=13625"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}