In this case, the root note is the G of C-major (E, E, G). A diminished 9th chord has masses of ‘resolution’ to it, since it has a kind of natural pull back to the root chord. In the C-major key, this becomes the G7b9 (G, B, D, F, Ab) where the A♯ is the diminished 9th.
Because the dominant seventh chord is commonly used on the fifth step, this also applies to the diminished 9th. So, C79 (C, E, G, Bb, and D) becomes C7b9 (C, Eb, Bb, Db). By lowering the 9th by a semitone, the chord becomes a diminished (or flat) 9th.
You can give the 9th in a dominant seventh chord a more resolved feel by lowering or raising the ninth by a semitone to give it a harmonic function. The 7 doesn’t need to be notated because the addition of ‘maj’ (Δ) already indicates a major seventh. When we build the Cmaj79 chord, we get C, E, G, B, and D, which is usually notated as Cmaj9 or even CΔ9. Sticking with our example, that means we get a chord made up of C, E, G, and B (notated as Cmaj7) instead of a chord made of C, E, G, and Bb. Major seventh simply means that the chord includes a major seventh. In the 9th chord above, we have simply added a ninth to a dominant seventh chord (so C7 is turned into C79), but you can also add a ninth to a ‘major’ seventh chord. The ninth adds some extra colour to a chord, but without giving the chord a ‘resolved’ feel because it’s a scale-specific note, and the ‘resolution’ of a standard 9th chord lies in the minor seventh. In funk music, you’ll find that 9ths are pretty much used as a rule – just listen to a little James Brown. To indicate that the seventh shouldn’t be played, the chord can be notated as Cadd9 (where ‘add9’ stands for ‘added 9’). Composers can also choose to notate a 9th chord without the 7th – so the seventh isn’t played. While you’re likely to come across the chord notated as C79 as well as just C9 – most of the time, it’ll just be notated as C9. A 9th chord will always include a seventh (7), so in principle you don’t always need to notate the ‘7’. Counting up from the C, this will bring us to a D, giving us a C, E, G, Bb, and D chord – otherwise known as the C79 chord. The ninth is counted as a perfect octave and a major second up from the root note (see the piano keyboard above for an example). We’ll start with the dominant seventh chord, like the C7 which is built out of notes C, E, G, and Bb (so, the root, major third, perfect fourth, perfect fifth, and the minor seventh). Intervals, counted from C (2 = major second, 3 = major third, 4 = perfect fourth, 5 = perfect fifth, 6 = major sixth, 7 = major seventh, 8 = octave, 9 = ninth, 11 = eleventh, 13 = thirteenth) The 9th Chord Stacking up to the seventh is as common in pop music as it is in jazz, and while stacking up to the 9th, 11th, and 13th happens a lot in jazz music, it’s actually also becoming much more common in pop as well. We can’t stack any further than that, since we’ll be coming back to our root note – C. For example, we can take our C-chord and stack on a D, F, and A. By going further and stacking on more ‘thirds’, we get 9th, 11th, and 13ths. ‘7’ chords are normally called ‘dominant’ seventh chords and are very commonly used. A C-chord that includes a minor seventh is referred to as C7. Now, the distance between the G and B is a major third, but we can also turn it into a minor third – G to Bb. In a C-chord, the B is referred to as the seventh, since it’s seven notes away from the C. So, when we travel three notes up from the G, we come to the B. Now, we can actually take these chords and ‘stack’ on even more thirds. The C-major chord, for instance, is made up of a C, E, and G, which includes a major third (between C and E) and a minor third (between E and G). Chords are basically built out of thirds. The first is an example of a major third, while the second is an example of a minor third. the interval between a C and E, or an E and G. In our introductory chord blog (if you haven’t yet, we recommend giving it a read before tackling this blog), we explained how chords are built, described what intervals mean when it comes to chords, and revealed that the third interval lies three notes along from the root note – e.g. Each of these magic chords can be built by simply stacking more thirds onto a seventh. In this blog, we dive deeper into how harmony works by looking at the chords commonly used in jazz and pop: the ninths, elevenths, and thirteenths, and all of their variations.
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