{"id":422,"date":"2008-10-17T20:08:26","date_gmt":"2008-10-18T03:08:26","guid":{"rendered":"http:\/\/www.hearandplay.com\/main\/what-everybody-ought-to-know-about-ninth-chords"},"modified":"2024-12-25T19:16:59","modified_gmt":"2024-12-26T03:16:59","slug":"what-everybody-ought-to-know-about-ninth-chords","status":"publish","type":"post","link":"https:\/\/hearplaymain.wpenginepowered.com\/what-everybody-ought-to-know-about-ninth-chords\/","title":{"rendered":"What everybody ought to know about ninth chords"},"content":{"rendered":"<p>Lately, we&#8217;ve been talking about <a href=\"https:\/\/www.hearandplay.com\/main\/heres-a-method-thatll-make-your-chords-more-powerful\">power chords<\/a>, <a href=\"https:\/\/www.hearandplay.com\/main\/let-me-introduce-you-to-the-power-chords-cousin\">tritones<\/a>, and <a href=\"https:\/\/www.hearandplay.com\/main\/heres-a-method-thats-helping-musicians-play-tritones-in-bigger-chord-progressions\">substitutions<\/a>.<\/p>\n<p>Today, I want to show you how to use tritones and minor chords to form <em>crazy-sounding<\/em> <a href=\"https:\/\/my.leadpages.net\/leadbox\/141e8f273f72a2%3A14dcc288eb46dc\/5650082896543744\/\" target=\"_blank\" rel=\"noopener\">dominant ninth chords<\/a><script type=\"text\/javascript\" src=\"\/\/my.leadpages.net\/leadbox-714.js\"><\/script>.<\/p>\n<p>Yes, that means if you know all your tritones (&#8230;there&#8217;s only really 6 to learn) and all your basic minor triads, then you can play dominant ninth chords &#8212; instantly!<\/p>\n<p>But not just any kind of dominant ninth chord. This voicing sounds really good!<\/p>\n<p>As you know, two musicians can play the same dominant chord and make their versions sound totally different. I&#8217;m going to give you a <em>&#8220;behind-the-scenes&#8221;<\/em> look at how that&#8217;s possible.<\/p>\n<p>Here&#8217;s the regular C dominant 9 chord:<\/p>\n<blockquote><p>C E G Bb D<\/p><\/blockquote>\n<p>It&#8217;s basically a C dominant 7 chord with an added &#8220;9&#8221; tone. If you don&#8217;t understand where the 9 comes from, <a href=\"https:\/\/www.hearandplay.com\/main\/the-secret-behind-big-picture-thinking\">read yesterday&#8217;s lesson<\/a>.<\/p>\n<p>There are only two steps to transforming this boring, &#8220;standard&#8221; ninth chord into a <em>snazzy<\/em> one!<\/p>\n<p><strong>Step 1: Play the tritone replacement for the dominant chord on your left hand. Remember, you can always substitute the appropriate tritone for a full dominant chord since a tritone utilizes the key tones of the dominant chord. Basically, take the 3rd and 7th tones out of the dominant chord and play them on your left hand. That is a tritone.<\/strong><\/p>\n<p>Example:<\/p>\n<blockquote><p>C dominant 9<br \/>\nC + <strong>E<\/strong> + G + <strong>Bb<\/strong> + D<\/p>\n<p>You&#8217;d take out E and Bb and play them together.<\/p>\n<p>* As you probably know, &#8220;E&#8221; is the third tone of the scale and &#8220;Bb&#8221; is the flat seventh tone.\n<\/p><\/blockquote>\n<p>So far, my left hand has &#8220;E + Bb&#8221; in it.<\/p>\n<p><strong>Step 2: After you have determined what tritone to play on your left hand, you&#8217;ll want to identify the 5th tone of the chord. You&#8217;ll want to play a minor chord off this tone on your right hand. If I&#8217;m playing a C9 chord, the 5th tone of C is basically G (which is in the chord). I&#8217;m simply going to play a G minor chord on my right hand.<\/strong><\/p>\n<p>It&#8217;s that simple! <em>Find 5th tone of chord<\/em> (or scale) and play its <a href=\"https:\/\/my.leadpages.net\/leadbox\/141e8f273f72a2%3A14dcc288eb46dc\/5650082896543744\/\" target=\"_blank\" rel=\"noopener\">minor triad<\/a><script type=\"text\/javascript\" src=\"\/\/my.leadpages.net\/leadbox-714.js\"><\/script>. Point blank!<\/p>\n<p>Example:<\/p>\n<blockquote><p>C dominant 9<br \/>\nC + E + G + Bb + D<\/p>\n<p>*The fifth tone in C major is G. Therefore, I&#8217;m going to play a G minor on my right hand: (G + Bb + D)<\/p><\/blockquote>\n<p><em>You can try different inversions of this G minor triad but I prefer first inversion, which means the keynote will always be on top: (Bb + D + G)<\/p>\n<p>Same for the tritone, you can try the alternate inversion but I like my flat seventh on the bottom (Bb + E) but feel free to try the other way around too (&#8220;E + Bb&#8221;). They both work.<\/em><\/p>\n<p>So my full chord looks like this:<\/p>\n<blockquote><p>\nC dominant 9<br \/>\nBb + E on left hand \/\/\/ Bb + D  + G on right hand\n<\/p><\/blockquote>\n<p>If you do use the opposite tritone &#8220;E + Bb,&#8221; you may find that the &#8220;Bb&#8221; from your tritone meets the &#8220;Bb&#8221; from your G minor chord if you&#8217;re playing both hands close to each other. This is fine. It actually results in a nice little effect with simply &#8220;E&#8221; on the left hand and &#8220;G minor&#8221; on the right hand.<\/p>\n<p>Now here&#8217;s the best part.<\/p>\n<p>In gospel music, you can really work this! Try going down a half step and doing the same thing. Then quickly move that chord back up to your original chord.<\/p>\n<p>So basically, take this same exact voicing of C9 and move it down to B9.<\/p>\n<p>If you understand &#8220;<a href=\"https:\/\/www.hearandplay.com\/main\/the-secret-behind-big-picture-thinking\">big picture thinking<\/a>&#8221; (yesterday&#8217;s post), this shouldn&#8217;t be hard.<\/p>\n<p>What is the tritone that goes with &#8220;B?&#8221; Bam! That&#8217;s your left hand!<\/p>\n<p>What&#8217;s the 5th tone of B? Play it&#8217;s minor chord in first inversion! Bam!<\/p>\n<blockquote><p>\nB dominant 9<br \/>\nA + D# on left hand \/\/\/ A + C# + F# on right hand<\/p>\n<p>*I&#8217;m using informal naming to make it easier to follow\n<\/p><\/blockquote>\n<p>And this B dominant 9 (a.k.a &#8220;B9&#8221;), which is the same exact chord as C9 (but moved down a half step), leads perfectly to the C9:<\/p>\n<blockquote><p>\nB dominant 9<br \/>\nA + D# on left hand \/\/\/ A + C# + F# on right hand<\/p>\n<p>C dominant 9<br \/>\nBb + E on left hand \/\/\/ Bb + D  + G on right hand<\/p><\/blockquote>\n<p>In fact, if you play gospel music and know the classic &#8220;shouting&#8221; bass run:<\/p>\n<blockquote><p>C &#8211; E &#8211; F &#8211; Gb &#8211; G &#8211; A &#8211; Bb &#8211; B &#8211; C<\/p><\/blockquote>\n<p>*It&#8217;s a bass line so play each of these notes separately.<\/p>\n<p>&#8230;Imagine playing this same dominant 9 voicing over each of these <a href=\"https:\/\/my.leadpages.net\/leadbox\/141e8f273f72a2%3A14dcc288eb46dc\/5650082896543744\/\" target=\"_blank\" rel=\"noopener\">bass notes<\/a><script type=\"text\/javascript\" src=\"\/\/my.leadpages.net\/leadbox-714.js\"><\/script>.<\/p>\n<p>But here&#8217;s the thing &#8212; with this voicing, you don&#8217;t really play the bass. Either you rely on someone else playing the bass or you just play the chords <em>rootless.<\/em><\/p>\n<p>Imagine replacing each of those &#8220;shouting&#8221; bass notes with this dominant 9 voicing?<\/p>\n<p>Try it! You already know the notes for C9 and B9.<\/p>\n<p>Just take the same formula and match up the chords for each of these bass notes. Then practice playing them because it won&#8217;t be easy at first. You&#8217;ll love what you come up with! Sounds a little crazy at first but this is how top gospel musicians like <a href=\"https:\/\/www.hearandplay.com\/gkministry.html\">Jason White<\/a> and <a href=\"https:\/\/www.hearandplay.com\/gkmasterclass.html\">Michael Bereal<\/a> think.<\/p>\n<p>I hope you enjoyed!<\/p>\n<p>Until next time &#8212;<\/p>\n","protected":false},"excerpt":{"rendered":"<p><img decoding=\"async\" src=\"https:\/\/www.hearandplay.com\/main\/wp-content\/uploads\/2008\/09\/harmonicchors-small.jpg\" class='videopic'>Lately, we&#8217;ve been talking about <a href=\"https:\/\/www.hearandplay.com\/main\/heres-a-method-thatll-make-your-chords-more-powerful\">power chords<\/a>, <a href=\"https:\/\/www.hearandplay.com\/main\/let-me-introduce-you-to-the-power-chords-cousin\">tritones<\/a>, and <a href=\"https:\/\/www.hearandplay.com\/main\/heres-a-method-thats-helping-musicians-play-tritones-in-bigger-chord-progressions\">substitutions<\/a>.<\/p>\n<p>Today, I want to show you how to use tritones and minor chords to form <em>crazy-sounding<\/em> dominant ninth chords.<\/p>\n","protected":false},"author":1,"featured_media":23262,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[25,416],"tags":[472,876,616,877,191,71,661,120],"class_list":["post-422","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-chords-progressions","category-experienced-players","tag-bass-line","tag-dominant-9","tag-dominant-ninth-chords","tag-dominant-ninths","tag-minor-triads","tag-shouting-music","tag-tritone-substitution","tag-tritones","post-wrapper","thrv_wrapper"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.5 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>What everybody ought to know about ninth chords - Hear and Play Music Learning Center<\/title>\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\/what-everybody-ought-to-know-about-ninth-chords\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"What everybody ought to know about ninth chords - Hear and Play Music Learning Center\" \/>\n<meta property=\"og:description\" content=\"Lately, we&#039;ve been talking about power chords, tritones, and substitutions.  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