Piano Diagram of A#mMaj9 in Root Position
The A#mMaj9 chord, consisting of the notes A#, C#, E#, Gx and B#, is a minor chord that is built on the key of A# and features an additional major 7th (Gx) and a major 9th (B#). Like the A#mMaj7, it contains an augmented fifth so it’s pretty dissonant. In this article, we’ll explore the music theory underlying the A#mMaj9 chord, including its construction, common voicings, and its role in chord progressions.
Structure of A#mMaj9
Notes |
|---|
| A#, C#, E#, Gx, B# |
Intervals |
|---|
| R, m3, 5, 7, 9 |
A#mMaj9 Chord Inversions
The A#mMaj9 chord has a total of 4 inversions:
| Root Position: | A# | C# | E# | Gx | B# |
| 1st Inversion: | C# | E# | Gx | A# | B# |
| 2nd Inversion: | E# | Gx | A# | B# | C# |
| 3rd Inversion: | Gx | A# | B# | C# | E# |
| 4th Inversion: | B# | C# | E# | Gx | A# |
Piano Keyboard Diagrams
A#m(Maj9) Chord – Root Position
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- A#m(Maj9) Chord – 1st Inversion
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- A#m(Maj9) Chord – 2nd Inversion
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- A#m(Maj9) Chord – 3rd Inversion
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- A#m(Maj9) Chord – 4th Inversion
Chord Inversions on Piano
Chord inversion diagrams provide a visual representation of a chord’s structure and the different positions it can take on the keyboard. However, it’s important to note that not all of these positions are practical or comfortable to play. To effectively play chords on the piano, it’s essential to study voicing – the specific arrangement of notes in a chord, including their octave placement and distribution across the keyboard.
By experimenting with different voicings and fingerings, pianists can find the most comfortable and efficient way to play each chord while still preserving its intended sound and harmonic function. This can involve playing some notes of the chord in higher or lower octaves or breaking up the chord into smaller intervals to create a smoother and more balanced sound.
Music Theory and Harmony of A#mMaj9
Building the A#mMaj9 Chord: Different Approaches
Starting from the A# Major Scale
A minor major 9th chord is built by combining the Root, a minor 3rd, a 5th, a major 7th, and a major 9th interval from a minor scale, however, for educational purposes, it may be clearer to demonstrate its construction using a major scale, as it better illustrates the relationship between intervals and their qualities.
For example, to build an A#mMaj9 chord, you can start with the A# Major scale:
A# Major Scale
A# Major Scale – Keyless Notation
To create an A#mMaj9 chord, apply the formula R, m3, 5, 7, 9 in the following manner:
- Begin with the Root note, which is A#.
- Add the minor 3rd interval, C#.
- Include the 5th note, which is E#.
- Add the major 7th Gx.
- Finally, add the major 9th interval B#, which is the 9th note of the scale.
By following this simple formula, you can create a minor major 9th chord from any major scale.
by Combining Intervals
Another way to build a minor major 9th chord is by combining specific intervals – a minor 3rd, a major 3rd, another major 3rd, and a minor 3rd.
m3 + 3 + 3 + m3 = minor major 9th chords
If we observe the intervals between the notes, we can notice that:
- A#-C# creates a minor 3rd interval,
- C#-E# forms a major 3rd,
- E#-Gx is a major 3rd interval
- and Gx-B# is a minor 3rd.
By stacking these four intervals together, we can build the A#mMaj9 chord.
by Combining Chords
Another trick to build a minMaj9 chord is by combining a minor triad with the major chord built on its fifth note. To create an A#mMaj9 chord, for instance, you can combine an A# minor triad (A#, C#, E#) with an F Major chord (F, A, C). These two chords share the note E# (F), and when played together, they form an A#mMaj9 chord.
A# minor + F Major = A#mMaj9
How to Use A#mMaj9 in a Chord Progression
The A#mMaj9 chord is a fuller and more dissonant version of the A#mMaj7. It is characterized by the presence of a major 7th interval, which is not found in either the natural minor or major scales. It’s diatonic in other scales like the harmonic and melodic minor scale, which features a minor major seventh chord on their first degree.
Most common uses of A#mMaj9
Typically, both the A#mMaj7 and the A#mMaj9 chords are used as passing chords, temporarily transitioning towards a more stable A#m7. Additionally, they can serve as ending chords in specific musical contexts. This is because both chords produce a mysterious and intriguing atmosphere, making them suitable for certain musical styles and compositions.
Non-diatonic positions in Natural minor and Major Scales
The major seventh interval of the A#mMaj9 chord, which is A, clashes with the G# note present in both natural minor and major scales.
- The A#mMaj9 chord is commonly used in the first degree of minor scales or on the sixth degree of major scales, as part of a chromatic progression towards a minor 7th chord.
- It can also be used on the fourth degree of minor scales and on the second degree of major scales.
- While less common, it can still be used on the fifth degree of both minor and major scales.
- The A#mMaj9 chord is not commonly used as a standalone chord (except in endings).
Here are the tables of the major and natural minor scales that include the A# minor 7th, which can be complemented by an A#mMaj9 chord.
on Natural minor Scales
| Minor Scales | i | ii | III | iv | v | VI | VII |
|---|---|---|---|---|---|---|---|
| A# | A# min7 ⇒ A#mMaj9 |
B#m7b5 | C# Maj7 | D# min7 | E# min7 | F# Maj7 | G#7 |
| E# = F | F min7 | Gm7b5 | Ab Maj7 | Bb min7 ⇒ BbmMaj9 = A#mMaj9 |
C min7 | Db Maj7 | Eb7 |
| D# | D# min7 | E#m7b5 | F# Maj7 | G# min7 | A# min7 ⇒ A#mMaj9 | B Maj7 | C#7 |
Non diatonic passing chord to the:
- Tonic chord in A# minor
- Subdominant chord in F minor as BbmMaj9
- Dominant chord in D# minor (less common)
on Major Scales
| Major Scales | I | ii | iii | IV | V | vi | vii |
|---|---|---|---|---|---|---|---|
| G# = Ab | Ab Maj7 | Bb min7 ⇒ BbmMaj9 = A#mMaj9 | C min7 | Db Maj7 | Eb7 | F min7 | Gm7b5 |
| F# | F# Maj7 | G# min7 | A# min7 ⇒ A#mMaj9 | B Maj7 | C#7 | D# min7 | E#m7b5 |
| C# | C# Maj7 | D# min7 | E# min7 | F# Maj7 | G#7 | A# min7 ⇒ A#mMaj9 | B#m7b5 |
Non diatonic passing chord to the:
- Supertonic chord in Ab Major as BbmMaj9
- Mediant chord in F# Major (less common)
- Submediant chord in C# Major
A#mMaj9 Function in Major and minor Keys
The A#mMaj9 chord does not belong to the diatonic set of chords and therefore does not have a specific functional role in major and minor keys’ harmonic progressions. However, it can be utilized to add tonal color in specific situations where modulation to an A#m7 chord is appropriate or feasible. Typically, this chord is found close to a variation of an A# minor chord, such as A#m6, A#m7, or A#m9, to create diatonic or chromatic modulations.
A#mMaj9 as Passing Chord in A# minor
In the key of A# minor, the A#mMaj9 serves as a passing chord to the Tonic chord, A#m7. The chord’s major 7th note, A, clashes with the natural G# note found in the A# minor scale, creating a tension that needs to be resolved. This can be achieved by transitioning the chord to a more stable A#m7 chord, which typically occurs within the same measure as the A#mMaj9 chord.
Alternatively, the A#mMaj9 chord can be left alone as an ending chord, but it’s too dissonant to be played for a whole measure within a chord progression.
| i | ii | III | iv | v | VI | VII |
| A# min7 | B#m7b5 | C# Maj7 | D# min7 | E# min7 | F# Maj7 | G#7 |
A#mMaj9 as Passing Chord on the i degree
The following chord progressions are examples of how the A# minor major 9th chord can serve as a passing chord towards the tonic chord (A#m7).
Chromatic modulation
| i | iΔ | i7 | i6 |
| A# min | A#mMaj9 | A#m7 | A# min6 |
i VI VII III
| i | VI | VII | III |
| A#m9 | A#m7 | A#mMaj9 | A#m7
A# (C#, E#, G#, B#) | A# (C#, E#, G#, A#) | A# (B#, C#, E#, A) | A# (C#, E#, G#, A#) |
F# Maj7 | G#7 | C# Maj7 |
This modulation is just a suggestion, and the voicing provided is merely a recommendation. Play the root note A# with your left hand and play the rest of the notes with your right hand.
i iv VI VII
| i | iv | VI | VII |
| A#m9 | A#m7 | A#mMaj9 | A#m7 | D# min7 | F# Maj7 | G#7 |
Circle Progression
| i | iv | VII | III | VI | ii | V7 | i |
| A#m9 | A#m7 | A#mMaj9 | A#m7 | D#m7 | G#7 | C# Maj7 | F# Maj7 | B#m7b5 | E#7 | A# min7 |
A#mMaj9 as Passing Chord in E# minor
A#mMaj9 as Passing Chord in D# minor
In the D# natural minor scale, the A#mMaj9 chord can serve as a passing chord within the fifth degree, A#m7.
| i | ii | III | iv | v | VI | VII |
| D# min7 | E#m7b5 | F# Maj7 | G# min7 | A# min7 | B Maj7 | C#7 |
A#mMaj9 as Passing Chord on the v degree
i iv VI v
| i | iv | VI | v |
| D# min7 | G# min7 | B Maj7 | A#m | A#mMaj9 | A#m9 | A#m |
i v VI VII
| i | v | VI | VII |
| D# min7 | A#m | A#mMaj9 | A#m7 | A#m6 | B Maj7 | C#7 |
i VI v iv
| i | VI | v | iv |
| D# min7 | B Maj7 | A#m | A#mMaj9 | A#m7 | A#m6 | G# min7 |
A#mMaj9 as Passing Chord in G# Major
A#mMaj9 as Passing Chord in F# Major
Another position where it could be possible to add some color modulating an A#m7 is in the F# major scale on the iii degree.
| I | ii | iii | IV | V | vi | vii |
| F# Maj7 | G# min7 | A# min7 | B Maj7 | C#7 | D# min7 | E#m7b5 |
A#mMaj9 as Passing Chord on the iii degree
I iii IV V
| I | iii | IV | V |
| F# Maj7 | A#m9 | A#m | A#mMaj9 | A#m | B Maj7 | C#7 |
I iii ii V
| I | iii | ii | V |
| F# Maj7 | A#m | A#mMaj9 | A#m9 | A#m | G# min7 | C#7 |
I iii vi IV
| I | iii | vi | IV |
| F# Maj7 | A#m9 | A#m | A#mMaj9 | A#m | D# min7 | B Maj7 |
A#mMaj9 as Passing Chord in C# Major
You can play the A#mMaj9 in a modulation on the sixth degree of the C# major scale.
| I | ii | iii | IV | V | vi | vii |
| C# Maj7 | D# min7 | E# min7 | F# Maj7 | G#7 | A# min7 | B#m7b5 |
A#mMaj9 as Passing Chord on the vi degree
I iii vi V
| I | iii | vi | V |
| C# Maj7 | E# min7 | A#m9 | A#m | A#mMaj9 | A#m | G#7 |
I vi ii V
| I | vi | ii | V |
| C# Maj7 | A#m9 | A#m | A#mMaj9 | A#m | D# min7 | G#7 |
Circle Progression
| I | IV | vii | iii | vi | ii | V | I |
| C# Maj7 | F# Maj7 | B#m7b5 | E# min7 | A#m9 | A#m | A#mMaj9 | A#m | D#m7 | G#7 | C# Maj7 |
Alternative Names for A#mMaj9 Chord
- A#-Δ9
- A# mM9
- A# m(Δ9)
- A#-Δmaj9
- A# minΔ9
- A#-(Maj9)
- A# mM7/9
- A# m7+(9)
- A#-Δ(add9)
- A# minorΔ9
- A# mΔ add2
- A# mΔ add9
- A# min maj9
- A# min/maj9
- A# m(maj7/9)
- A# min(Maj9)
- A# min(Maj9)
- A# m(+7) add2
- A# m(+7) add9
- A# minor(Maj9)
- A# m(maj7) add9
- A# m(maj7) add2
- A# minor major 9
- A# minor major 9th
Conclusion
The chord progressions and examples presented in this post provide a comprehensive overview of the most common uses of the A#mMaj9 chord. It’s important to note, however, that there are many advanced harmony-related topics that could not be included due to space constraints. These topics include chord progressions built on harmonic and melodic scales, modal scales, hidden tonality, secondary dominants and other chord substitutions, non-functional harmony and atonal music, modal interchange and borrowed chords, voice leading and counterpoint, chromatisms, jazz harmony…I mean, music theory is a huge topic!
Although I couldn’t cover all of these topics in my post, I encourage readers to continue exploring these areas in their own study and research. By expanding your knowledge in these advanced areas of music theory, you can gain a deeper understanding of the harmonic possibilities that exist beyond the basics presented here.