How to figure out any chord on the guitar.
The road map to chord structures. Part Four - Dominant "9's". [Advanced Intermediate Lesson]
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You can review "Part One, Part Two and Part Three" for some refresher background on the following article. This fourth lesson will be a continuation of the previous lesson on building various "9" chords. As previously stated, these types of chords can be a little intimidating for some beginners and intermediate guitar players. My hope is to alleviate some of the mystery about these types of chords and the extended numbers and symbols attached to them.
Advanced Intermediate Lesson
Continuing with "9" chords - The Blues Chords
The "9" chord.
In Part Three, we went over the structures for both the "Major 9" and the "minor 9" chords. There are a few more "9" chords to add to your vocabulary. The next is the actual "9" chord. So, what's the difference between a "9" and a "Major 9"? Well, the "9" chord has a "dominant 7" in the structure. This makes it a sort of "blues" chord, opposed to a jazz chord. However, it could be used in either genre. The "9" chord being a dominant chord, gives it a "blues" sound or feel. It is a great replacement chord when a dominant 7 just isn't enough.
The (dominant) "9" chord requires the following structure: I - III - V - vii - IX.
Using the notes in the key of "C" major, we can construct the "C9" with the following notes: C - E - G - Bb - D.
As you can see in this graphic, there are a few ways to play the "C9" chord. Remember, you do not always need a "III" or a V" in the "9" chord. You do, however, need the root "I", and at least either the "III" or the "V" in the structure to balance the voicings in the chord.
The "Jimmy Hendrix" chord - The "7#9" chord.
Yes, it is universally understood that the "7#9" forever belongs to Jimmy Hendrix. Why? Because he used it so much in his songs. It is a dominant 7 chord with a raised (or sharp) 9. There is a dissonance in this chord that is created by having both a III and a #II in the structure.
The (dominant) "7#9" chord requires the following structure: I - III - V - vii - #IX.
Using the notes in the key of "C" major, we can construct the "C7#9" with the following notes: C - E - G - Bb - D#. (Notice the E and the D# are two notes right next to each other. This creates the dissonance in the chord.
The "7b9" chord.
This is one of those chords that really needs to be in context in a melodic chord progression for it to make sense. It is used more in Jazz than in Blues. It is a great replacement chord as a "V" chord resolving to the "I" For example: C7b9 to GΔ7.
The (dominant) "7b9" chord requires the following structure: I - III - V - vii - ix.
Using the notes in the key of "C" major, we can construct the "C7b9" with the following notes: C - E - G - Bb - Db.
Okay, so there are a few examples of dominant 9 chords to add to your chord vocabulary.