page_title: Ninth chord
section_title: Dominant ninth
hierarchical_section_title: Ninth chord / Dominant ninth
caption_attribution_description: English: Ninth vs added-ninth chord. Created by Hyacinth (talk) 12:46, 2 July 2011 (UTC) using Sibelius 5.
context_page_description: In music theory, a ninth chord is a chord that encompasses the interval of a ninth when arranged in close position with the root in the bass.
  The ninth chord and its inversions exist today, or at least they can exist. The pupil will easily find examples in the literature [such as Schoenberg's Verklärte Nacht and Strauss's opera Salome]. It is not necessary to set up special laws for its treatment. If one wants to be careful, one will be able to use the laws that pertain to the seventh chords: that is, dissonances resolve by step downward, the root leaps a fourth upward.
  — Arnold Schoenberg
context_section_description: There is a difference between a major ninth chord and a dominant ninth chord. A dominant ninth is the combination of a dominant chord (with a minor seventh) and a major ninth. A major ninth chord (e.g., Cmaj⁹), as an extended chord, adds the major seventh along with the ninth to the major triad. Thus, a Cmaj⁹ consists of C E G B and D play . When the symbol "9" is not preceded by the word "major" or "maj"  (e.g., C⁹), the chord is a dominant ninth. That is, the implied seventh chord is a dominant seventh, i.e. a major triad plus the minor seventh, to which the ninth is added: e.g., a C⁹ consists of C, E, G, B♭ and D play . C dominant ninth (C⁹) would usually be expected to resolve to an F major chord (the implied key, C being the dominant of F). The ninth is commonly chromatically altered by half-step either up or down to create more tension and dissonance. Fétis tuned the chord 4:5:6:7:9.
  In the common practice period, "the root, 3rd, 7th, and 9th are the most common factors present in the V⁹ chord," with the 5th, "typically omitted". The ninth and seventh usually resolve downward to the fifth and third of I.
  
  Example of tonic dominant ninth chords include Bobby Gentry's "Ode to Billie Joe" and Wild Cherry's "Play That Funky Music". James Brown's "I Got You (I Feel Good)" features a striking dominant 9th arpeggio played staccato at the end of the opening 12-bar sequence. The opening phrase of Chopin's well-known "Minute Waltz" climaxes on a dominant 9th chord:
  César Franck’s Violin Sonata in A Major opens with a dominant ninth chord (E⁹) in the piano part. When the violin enters in the fifth bar, its melody articulates an arpeggio of this chord.
  Debussy’s  "Hommage a Rameau", the second of his first Book of Images for piano solo climaxes powerfully on a dominant 9th, expressed both as a chord and as a wide-ranging arpeggio:
  The starting point of Karlheinz Stockhausen’s piece for vocal sextet, Stimmung (1968) is a chord consisting of the notes B♭, F, B♭, D, A♭ and C. According to Cook (1987, p.370), Stimmung  could, in terms of conventional tonal harmony, be viewed as ‘simply a dominant ninth chord that is subject to timbral variation. The notes the performers sing are harmonics 2, 3, 4, 5, 7, and 9 of the implied but absent fundamental—the B flat below the bass clef.’
caption: Ninth (C9) vs added-ninth chord (Cadd9), distinguished, in academic textbooks and jazz & rock sheet music, by the presence or absence of a seventh.[4] About this soundPlay (help·info)
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