BmMaj9 Piano Chord

Piano Diagram of BmMaj9 in Root Position

The BmMaj9 chord, consisting of the notes B, D, F#, A#, and C#, is a minor chord that is built on the key of B and features an additional major 7th (A#) and a major 9th (C#). Like the BmMaj7, it contains an augmented fifth so it’s pretty dissonant. In this article, we’ll explore the music theory underlying the BmMaj9 chord, including its construction, common voicings, and its role in chord progressions.

 

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BmMaj9 Chord Inversions

 

The BmMaj9 chord has a total of 4 inversions:

Piano Keyboard Diagrams

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.

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Music Theory and Harmony of BmMaj9

 

Building the BmMaj9 Chord: Different Approaches

Starting from the B 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 a BmMaj9 chord, you can start with the B Major scale:

 

 

 

To create a BmMaj9 chord, apply the formula R, m3, 5, 7, 9 in the following manner:

1. Begin with the Root note, which is B.
2. Add the minor 3rd interval, D.
3. Include the 5th note, which is F#.
4. Add the major 7th A#.
5. Finally, add the major 9th interval C#, 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.

 

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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:

• B-D creates a minor 3rd,
• D-F# forms a major 3rd interval,
• F#-A# is a major 3rd
• and A#-C# is a minor 3rd interval.

By stacking these four intervals together, we can build the BmMaj9 chord.

 

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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 a BmMaj9 chord, for instance, you can combine a B minor triad (B, D, F#) with an F# Major chord (F#, A#, C#). These two chords share the note F#, and when played together, they form a BmMaj9 chord.

B minor + F# Major = BmMaj9

 

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How to Use BmMaj9 in a Chord Progression

 

The BmMaj9 chord is a fuller and more dissonant version of the BmMaj7. 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 BmMaj9

Typically, both the BmMaj7 and the BmMaj9 chords are used as passing chords, temporarily transitioning towards a more stable Bm7. 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 BmMaj9 chord, which is A#, clashes with the A note present in both natural minor and major scales.

• The BmMaj9 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 BmMaj9 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 B minor 7th, which can be complemented by a BmMaj9 chord.

 

on Natural minor Scales

Non diatonic passing chord to the:

• Tonic chord in B minor
• Subdominant chord in F# minor
• Dominant chord in E minor (less common)

 

on Major Scales

Non diatonic passing chord to the:

• Supertonic chord in A Major
• Mediant chord in G Major (less common)
• Submediant chord in D Major

 

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BmMaj9 Function in Major and minor Keys

The BmMaj9 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 a Bm7 chord is appropriate or feasible. Typically, this chord is found close to a variation of a B minor chord, such as Bm6, Bm7, or Bm9, to create diatonic or chromatic modulations.

 

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BmMaj9 as Passing Chord in B minor

In the key of B minor, the BmMaj9 serves as a passing chord to the Tonic chord, Bm7. The chord’s major 7th note A#, clashes with the natural A note found in the B minor scale, creating a tension that needs to be resolved. This can be achieved by transitioning the chord to a more stable Bm7 chord, which typically occurs within the same measure as the BmMaj9 chord.

Alternatively, the BmMaj9 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.

BmMaj9 as Passing Chord on the i degree

The following chord progressions are examples of how the B minor major 9th chord can serve as a passing chord towards the tonic chord (Bm7).

 

Chromatic modulation

 

i VI VII III

This modulation is just a suggestion, and the voicing provided is merely a recommendation. Play the root note B with your left hand and play the rest of the notes with your right hand.

 

i iv VI VII

 

Circle Progression

 

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BmMaj9 as Passing Chord in F# minor

The BmMaj9 chord can be used as a passing chord in the F# natural minor scale which has a B min7 on the fourth degree.

BmMaj9 as Passing Chord on the iv degree

The following chord progressions feature a BmMaj9 chord in modulation to the iv degree in the key of F# minor

 

iv III VI VII

 

i iv VI v

 

Circle Progression

 

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BmMaj9 as Passing Chord in E minor

In the E natural minor scale, the BmMaj9 chord can serve as a passing chord within the fifth degree, Bm7.

BmMaj9 as Passing Chord on the v degree

 

i iv VI v

 

i v VI VII

 

i VI v iv

 

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BmMaj9 as Passing Chord in A Major

In the A major scale, the BmMaj9 chord can also serve as a passing chord on the ii degree.

BmMaj9 as Passing Chord on the ii degree

 

ii V I

 

Circle Progression

(The circle progression is a widely used chord progression in various musical genres. As the name suggests, it creates a circular sequence of keys, meaning that if you continue playing through the progression, you’ll eventually return to the starting point.)

 

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BmMaj9 as Passing Chord in G Major

Another position where it could be possible to add some color modulating a Bm7 is in the G major scale on the iii degree.

BmMaj9 as Passing Chord on the iii degree

 

I iii IV V

 

I iii ii V

 

I iii vi IV

 

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BmMaj9 as Passing Chord in D Major

You can play the BmMaj9 in a modulation on the sixth degree of the D major scale.

BmMaj9 as Passing Chord on the vi degree

 

I iii vi V

 

I vi ii V

 

Circle Progression

 

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Alternative Names for BmMaj9 Chord

• B-Δ9
• B mM9
• B m(Δ9)
• B-Δmaj9
• B minΔ9
• B-(Maj9)
• B mM7/9
• B m7+(9)
• B-Δ(add9)
• B minorΔ9
• B mΔ add2
• B mΔ add9
• B min maj9
• B min/maj9
• B min(Maj9)
• B min(Maj9)
• B m(maj7/9)
• B m(+7) add2
• B m(+7) add9
• B minor(Maj9)
• B m(maj7) add9
• B m(maj7) add2
• B minor major 9
• B minor major 9th

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Conclusion

The chord progressions and examples presented in this post provide a comprehensive overview of the most common uses of the BmMaj9 chord. It’s important to note, however, that many advanced harmony-related topics 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.