Guitar Fadd9

[Lavonda Busing]

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As the label indicates, add9 chords are major chords with an added 9th degree note. They are four note chords, as opposed to the original 9 chord, which is a five note chord. An add9 has the notes 1-3-5-9, while the 9-chord has 1-3-5-b7-9. The add9 is a sweet sounding chord, while the 9-chord is dissonant and needs to be resolved.

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You want to become a guitar chord master? On Oolimo.com you can easily learn by yourself how to construct chords on your guitar fretboard. You will learn to understand different chord types and where you use them. You can practise the most important chord progressions in pop, rock and jazz songs. Great quizzes allow to test and consolidate your chord knowledge and are fun to do!

In order to play this D-minor 7 chord (or Dm7), start with the open Dm shape. Then lift your ring finger off the guitar and collapse your index finger so that it covers the 1st frets on both the 1st and 2nd strings, similar to the way you would play an F chord. In fact, another way to arrive at the Dm7 shape is by starting with the F chord described earlier, then lifting your ring finger off the guitar and letting the 4th string ring out open. A Dm7 will work pretty much anywhere that you see an ordinary Dm written, and substituting it can be a great way to subtly class-up a chord progression.

On one end of the above chard, we have chords primarily built upon minor thirds. On the other end we have chords primarily built upon major thirds, and in the middle we have chords that split the difference. The chords on either end are extreme opposites of each other, and the differences will grow less stark as we move towards the middle of the spectrum.

A QUICK NOTE: as we analyze the different types of chords in the above chart, we will be using the root position triad versions of the chords as the frame of reference, as is common practice. The concepts discussed in this piece are equally applicable to inversions of the triads and denser versions of the chords. However, minimalist root position versions of the chords will be used for all examples for the purpose of the clear illustration.

On the end of the left side of the spectrum (which I like to think of as the minor side), we have diminished chords. Diminished chords contain a triad of two stacked minor thirds, which makes them more minor than minor chords and thus places them on the far end of the spectrum. Diminished chords sound darkly dissonant and occur naturally on the seventh degree of the major scale.

After diminished chords, we have minor chords. Minor triads consist of a minor third followed by a major third. So while they contain an equal amount of minor and major thirds, the fact the minor third occurs first makes it the definitive of the two thirds and ultimately places minor chords on the left side of the chord spectrum. Although minor chords share the darkness heard in diminished chords, they are much more consonant are used far more widely in popular music. Minor chords occur naturally on the second, third, and sixth, scales degrees of the major scale.

Neither the perfect fourth nor the major second (despite its name) make the chord lean inherently major or minor, which ultimately places suspended chords in the middle of the spectrum, along with dominant chords. Suspended chords sound tense, ambiguous, and bittersweet. Sus2 chords can be built over every scale degree in the major scale except the third and seventh, and sus4 chords can be built over every scale degree in the major scale except the fourth and seventh.

Below is a slightly more fleshed out version of the earlier chart. It is built off of the previous chart, but is adjusted to accommodate an added seventh to some of the chord qualities. This creates a more nuanced look at the chord spectrum that accounts for denser harmonies. Although not all of the chord types on it are particularly common, they all see far enough usage to be worth understanding. The below chart can of course be ever further fleshed out to include more nuanced differences, but the information already on it is plenty to get you started.

ANOTHER QUICK NOTE: Although we are now looking at chords that inherently denser than triads, we will still be examining all of the chords discussed through the framework of looking at them in root position. Just as with the previous section, everything discussed is still equally applicable to inversions of these chords.

Starting on the left end of the above chart, the first new chord we come across is the full diminished. A full diminished chord (also known as a diminished seventh), is a diminished triad with a diminished seventh interval (which is enharmonic with a major sixth) stacked on top. This adds up to a total of four minor thirds within the chord, thus placing it on the far left side of even this more nuanced look at the chord spectrum. Full diminished chords never occur diatonically, but they are a notable part of many pieces of music written in harmonic minor modes.

Following the full diminished chord is the highly similar half-diminished chord. The half-diminished chord (sometimes referred to as a minor seventh flat five) is a diminished triad with an ordinary minor seventh stacked on top. This means that a full diminished and a half-diminished chord are exactly the same, except that the seventh in the half-diminished is a half-step higher than the seventh in the full diminished. Altogether, a half-diminished chord consists of two minor thirds followed by a major third at the very top. The half-diminished chord occurs naturally on the seventh scale degree of the major scale.

The next new chord in the minor major seventh, which sits with dominant and suspended chords in the middle of the spectrum. Minor major seventh chords are the conceptual inverse of dominant seventh chords; while a dominant seventh chord consists of a minor seventh stacked on top of a major trial, a minor major seventh consists of a major seventh stacked on top of a minor triad. Altogether, a minor major seventh chord contains one minor third and two major thirds, with the minor third being the definitive one. The minor major seventh chord will never occur diatonically, but it can be built off of the first scale degree in both the harmonic minor scale and the melodic minor scale.

The final newly introduced chord is the augmented seventh. An augmented seventh is an augmented triad with a minor seventh interval stacked on top. This gives the chord a total of two major thirds and one diminished third, the latter of which is enharmonic with a major second. The diminished third places the augmented seventh left of a simple augmented chord on the chord spectrum, but its augmented triad makes it still lean right of a simple major chord. The augmented seventh chord does not occur diatonically and is not used particularly often in popular music. However its harsh, striking sound gives it a lot of character, and it can be a highly effective choice when used tastefully.

The other chords on the above chart, such as major, minor, and suspended chords, do not become particularly complicated by the addition of sevenths. A major-seventh and a minor-seventh will sound richer and distinct from their triadic equivalents, but will ultimately function in the same way and occupy the same spaces on the chord spectrum.

When building chords, a great first step is to build a triad that will serve as the skeleton of your chord. Triads are little, three-note chords that contain the bare minimum amount needed to create a chord. Most chords you know that contain at least three unique pitches (so power chords are out) can be stripped down to the triad that serves as their foundation. Although many musicians use the term triad to refer to any chord of exactly three unique pitches, the classic definition of a triad is specifically a pair of stacked thirds. Under the classic definition of triads, the only proper triads are major triads, minor triads, diminished triads, and augmented triads.

This definition excludes the fairly common chord type called suspended chords, but three-note suspended chords have become pretty widely used by musicians in recent years and have a history of being used far before as well. The term suspended triad sees common usage nowadays regardless (with the sus4 variant traditionally referred to as a Georgian triad). Therefore, the use of suspended triads is entirely valid for the following exercise.

Naming denser chords, particularly less common ones, can be somewhat of a nebulous process. This is largely because certain combinations of notes can sometimes spell multiple chords, all of which are valid names for the chord. Therefore, choosing how to name the chord you created is largely determined both by musical context and how you yourself are thinking about the chord. That being said, there are two pretty surefire ways to determine the name of the chords you create.

If you added a seventh and another interval larger than a seventh, then consult the above chart but replace the number seven with whatever the highest the interval you included was (for example, Fmaj9). If you added a seventh and a sixth, then consult the above chart but replace the number seven with the number thirteen. If your chord has two or more extensions all higher than a seventh, but with no seventh, then the name of the chord is the triad with all the extensions added to the end (for example, Em9/11). And that should just above cover you for the confines of this exercise.

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