Well it certainly means, that sooner or later, you’ll want to learn some jazzier chords if you want to be able to play certain types of blues. Actually I could have shown you this version of the 9th chord first but this way you get 2 for the price of one. I’ve also included the 9th chords for the key of C so you can play the 4th and 5th for the following jam track. TweetWhen learning to play jazz guitar chords, one chord type that can add spice to your chord soloing and comping is the minor 9th chord. This article explains an easy way method which will produce minor 9th chords by using major 7 drop chords as well as some other commonly used shapes by jazz guitarists such as Jim Hall and Lage Lund. An easy way to produce inversions for minor 9th chords is to think of drop 2 inversions of the relative major. An F major 7th chord in relation to D-7, contains, F (3rd), A (5th), C (7th) and E (9th), a perfect D minor 9th chord.
While the minor conversion technique works well, I wanted to include some other minor 9th chords that are not found using the technique that are used in practice.
The first example is a variation of the last chord in the previous conversion example that I found in a Lage Lund transcription. Though this minor 9th chord is a stretch at first, the perfect 5th found within the voicing creates a pleasing and open sound. The 3rd example is a voicing often used by jazz guitar great Jim Hall and contains the 9th at the bottom of the voicing. Putting the 9th in the lower end of the guitar creates a cluster chord due to the minor 2nd interval between the E and F. The final example of the minor 9th chord is often used in bossa nova tunes when comping such as Blue Bossa. To conclude this study of minor 9th chords here are two short chord licks that used chords from the example. The first minor 9th chords lick starts with the Lage Lund chord and a common jazz rhythm which is then followed by the Jim Hall triplet chord lick. Keep the Lage Lund chord rhythm nice and punchy and be careful not to rush the triplets in the Jim Hall chord lick. Focus on using and mixing one minor 9th chord shape at a time with the other minor 7th chords you know in the practice room. Modal studies such as “So What” make a great piece in which minor 9th chords can be applied. Check out any link below for the answers to my top 10 most frequently asked questions that I am asked by students, teachers, readers, and subscribers.
This entry was posted by Jamie on 16 March, 2015 at 00:51, and is filed under Jazz Guitar Chords, Latest Lessons.
Although arguably best known as elder brother and primary musical influence to the legend that is Stevie Ray Vaughan, Jimmie is undeniably a wonderful guitarist in his own right and any serious student of blues guitar has an obligation to check him out.Both as a player and as a bandleader, Vaughan's relevance is notable, prompting Stevie to proudly declare, "My brother Jimmie actually was one of my biggest influences on my playing. MusicRadar is part of Future plc, an international media group and leading digital publisher.
These simple variations on major piano chords will add a lot of variety and interest to your playing. Why not take 3 minutes and watch the piano lesson video where I demonstrate how to play the variations. We break down step by step the theory behind them how to play them, and how to use them in a band situation or when you’re accompanying another instrument or a singer. There are so many songs that use this technique that there’s no way I could list them all. Sarah McLachlan uses this chord and fill concept on the Gb chord in the verse and all over the place in the chorus. Now that you’ve heard some songs that use this chord concept spend some time at the piano exploring the sound of this chord. I hope you’ve enjoyed this quick and easy piano lesson. Have fun practicing and remember to check back for many more piano lessons! Hello Steve nice website,any chance of you doing some John Lennon songs like Jealous Guy and Oh My Love.
This is the " Secrets of Exciting Chords & Chord Progressions!" newsletter that you (or someone using your E-mail address) signed up for when you visited our site. A 9th chord is made up of a root, a 3rd, a 5th, a 7th (not the maj7th -- just the 7th) plus the 9th note of the scale, which of course is the same as the 2nd note of the scale, but an octave higher.
So what we need to do is to play the C -- the root of the chord -- an octave below middle C while we depress the sustain pedal, and then play the chord shown above. So if you want to play a F9 chord, you would play a low F (the root of the F chord) low on the keyboard, then play the F9 chord while the sustain pedal is depressed.

You may be wondering if you can play 9th chords in different inversions, like you can invert 6th and 7th chords. Then finally, add these 9th chords into the mix -- but don't forget to play the low root before playing the chord -- that's a must!
Next lesson we will add 12 more chords to our growing list of chords we can play by adding 11th chords to our stash. For a complete listing of courses that will help you greatly in your piano playing, click here. In case you just discovered this page accidentally and like what you see, sign up for our free newsletter below. As a guitar teacher I see a lot of confusion, even among my more advanced students, when it comes to playing these types of chords. Maybe it’s tough for some musicians to see the difference between these chords because they actually have a lot in common. First off, they all have a major triad at their foundation, which contains the root, major 3rd and perfect 5th. To get a Cadd9 chord you would just add the 9th (in this case D) and leave out the use of a 7th.
Moving on to the CMaj9, this chord has all the ingredients of the Cadd9 except it also contains the major 7th.
Finally I should mention that you could apply the same principles here to chords that use a minor triad. Dave Willard (28 Articles)Dave Willard is an experienced guitar player and teacher, providing private guitar lessons in Morristown, New Jersey. This entry was posted in Guitar Chords, Ninth Chords on September 1, 2013 by Richie Brereton. In 2001 I started a musical accessories company "Pure Tone" which I ran with family for the next 5 years.
If you can play a 7th chord you can play a 9th chord… and if you can play a major 7th chord you can play a 6th chord. Jazz guitarists usually play this chord with a 5th in place of the 11th, like in example 3 of the chords conversion. He really was the reason why I started to play".Jimmie's music encapsulates all that is good about the earlier roots-based urban blues styles.
You can unsubscribe at any time and we'll never share your details without your permission. Adding the 9th to your major chords create a really nice variation that seems to brighten the sound of major chords.
I recommend you practice breaking up these chords and arpeggiating them in a number of different ways. You can also remove the 3rd from the chord entirely and just play the root, the 2nd scale degree, and the 5th.
It’s important that you eventually learn to play those chord voicings in all 12 keys. If you have 2 bars of a chord you can use this technique and create a little harmonic motion where there is none. I definitely plan on doing some Beatles related stuff and hopefully John Lennon in the near future. If you no longer want to receive these free weekly E-mail piano lessons, toggle down to the bottom of this E-mail and you'll see where you can take yourself off the list. I hope you are enjoying learning about all the piano chords in the world -- and we're going to cover them ALL before we're done -- you'll know more about piano chords than 99% of the people in the world -- believe it or not, it's true. The answer is "sure" -- but if I were you I would master one inversion before trying to use several different ones. Play each 9th chord in root position, then 1st inversion, then 2nd inversion, then in 3rd inversion (the 7th will be the lowest note of the chord) Play each chord up and down the keyboard for at least 2 octaves -- maybe 3 octaves. Then go through all the 12 minor chords, inverting each one up and down the keyboard -- hands alone, then hands together.
They are shown in root position above, but you know that you can turn them upside down 'till the cows come home -- invert them -- so go to it! You ought to -- I know we're going slowly, but chords are SO important that you absolutely MUST master them if you are ever going to play the piano like you hope to!
Truly knowing how to voice these chords comes from an understanding about how chord naming conventions tie into music theory. After over 14 years of teaching, he's helped literally hundreds of students become better musicians.
Although I’m applying this theory to piano over guitar, all the theory is relative to all instruments.

Generally written as Cmi9 or Cmi7(add9), it is good practice to simply use an uppercase C, then the lowercase letters mi followed by a superscripted 9 to represent it in writing (ie: Cmi9). Traveled to Los Angeles at the age of 18 to study music at the Guitar Institute of Technology and graduated a year later. Using 6th chords and 9th chords simply work better when you are talking about slow blues or jazzier blues.
He may have a raw and direct style, and he's not the most technically demanding player out there, but it simply sounds wonderful!Clarity is the order of the day, both from a tonal and a melodic perspective. As an example, for the first measure you can play Cadd9 and the second measure you can just play your basic major triad. We take your privacy (and ours) very seriously, so we don't want anyone receiving our stuff who doesn't want it! Today we're going to learn 9th chords, and from now on we will be inverting the chords and using a 2-step process to play the piano chords.
I can't reach all 5 keys, so I had to come up with another way to position the chord on the keyboard.
Then go through all 12 diminished chords, inverting each one up and down the keyboard -- each hand alone, then together. You'll play along with him on each technique until you understand each technique and can execute it by yourself.
Let’s explore the subject by taking a look at the difference between add9, Maj9 and 9 chords.
The Cm9 would have C Eb G Bb D and the less commonly used CminMaj9 would contain C Eb G B D.
I even fell into the trap you mentioned of thinking Maj implies Major chords, while it is, in fact, implied already. In 2013 I completely revamped the website to run on WordPress to make my life easier so I can concentrate on providing the best content in the best way I can, without spending too much time on the back-end. The simplicity of Vaughan's music allows the inherent beauty of his phrasing to shine through. So unless you have a very good reason to use a different inversion, I would stick with only one inversion for now.
So for the C9 chord, the dominant 7 is a B flat and gives us all of these notes: C E G Bb D.
I spent my twenties teaching guitar at my own private teaching practice "Musicians Workshop" in Melbourne, Australia. He's got great timing, decisive note choice, great rhythmic phasing, confident, bold and authentic delivery and a killer tone.There are two complete studies for you to learn in this lesson. It uses a lot of complex jazz chords with these extensions, and the breakdown is invaluable.
The first takes its inspiration from Vaughan's fiery soloing style he showcased with his work with The Fabulous Thunderbirds. So, if the song is in G, the capo is at the 3rd fret, if it's in C then it would be the 8th, and so on. This is surprisingly difficult to do, especially at this tempo, so make sure you kick things off at a manageable pace and turn up the heat as your accuracy and coordinating comes together.[Bars 5-8] Continuing along similar lines, here our harmonic sequence shifts to the expected IV chord (F9) before returning to the I in bar 7. We add the b5 into the single-note mix to create what is commonly known as the 'blues scale' (R b3 4 b5 5 b7) although this is far from the only melodic device used within the blues idiom. What we do get with these notes, however, is all the fun of pentatonic with a sense of extra dissonance, tension and bluesy grit so you should definitely familiarise yourself with this set of melodic intervals.[Bars 9-12] More 'blues scale' action here in bars 9-10, along with a shift to a more chord-tone based soloing approach in the final two measures. From a notes perspective, it's F minor pentatonic all the way (F Ab Bb C Eb).[Bars 5-8] Here we see how Jimmie expertly combines the first and second forms of minor pentatonic scale, the E minor and the D minor shapes along with a selection of open string-fretted note unisons. Melodic lines of this nature originate from the Mississippi delta region and date right back to the origins of the blues genre.[Bars 9-12] We conclude our first 12-bar chorus with a simple, though effective, descending phrase derived from the F 'blues scale' (F Ab Bb Cb C Eb), maintaining interest through multiple repetitions by rhythmically placing the phrase at varying points within each bar. Clever stuff![Bars 13-16] Jimmie is equally adept at horizontal and vertical motion whilst negotiating pentatonic scales and here we see him in horizontal mode. It's not that easy to alternate pick across the strings with one finger, although Jimmie sometimes tremolo picks on one string using his second finger. Here we see how he might negotiate some rapid pull-off s derived from, you guessed it, the minor pentatonic scale of F![Bars 21-24] Here's that tremolo picking technique. For the C note in bar 21 Jimmie flicks his second finger back and forth across the string, resting for support and balance by placing his thumb either on the bass strings, the guitar body or the top edge of the neck. Yet more rhythmic ingenuity in bar 22, with a clever triplet comprised six-against-four figure, before a couple of well-placed 9th chords bring our study to a close.

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