EbmMaj9 Piano Chord

Piano Diagram of EbmMaj9 in Root Position

The EbmMaj9 chord, consisting of the notes Eb, Gb, Bb, D, and F, is a minor chord that is built on the key of Eb and features an additional major 7th (D) and a major 9th (F). Like the EbmMaj7, it contains an augmented fifth so it’s pretty dissonant. In this article, we’ll explore the music theory underlying the EbmMaj9 chord, including its construction, common voicings, and its role in chord progressions.

 

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EbmMaj9 Chord Inversions

 

The EbmMaj9 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 EbmMaj9

 

Building the EbmMaj9 Chord: Different Approaches

Starting from the Eb 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 EbmMaj9 chord, you can start with the Eb Major scale:

 

 

 

To create an EbmMaj9 chord, apply the formula R, m3, 5, 7, 9 in the following manner:

1. Begin with the Root note, which is Eb.
2. Add the minor 3rd interval, Gb.
3. Include the 5th note, which is Bb.
4. Add the major 7th D.
5. Finally, add the major 9th interval F, 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:

• Eb-Gb creates a minor 3rd,
• Gb-Bb forms a major 3rd interval,
• Bb-D is a major 3rd
• and D-F is a minor 3rd interval.

By stacking these four intervals together, we can build the EbmMaj9 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 an EbmMaj9 chord, for instance, you can combine an Eb minor triad (Eb, Gb, Bb) with a Bb Major chord (Bb, D, F). These two chords share the note Bb, and when played together, they form an EbmMaj9 chord.

Eb minor + Bb Major = EbmMaj9

 

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How to Use EbmMaj9 in a Chord Progression

 

The EbmMaj9 chord is a fuller and more dissonant version of the EbmMaj7. 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 EbmMaj9

Typically, both the EbmMaj7 and the EbmMaj9 chords are used as passing chords, temporarily transitioning towards a more stable Ebm7. 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 EbmMaj9 chord, which is D, clashes with the Db note present in both natural minor and major scales.

• The EbmMaj9 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 EbmMaj9 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 Eb minor 7th, which can be complemented by an EbmMaj9 chord.

 

on Natural minor Scales

Non diatonic passing chord to the:

• Tonic chord in Eb minor
• Subdominant chord in Bb minor
• Dominant chord in Ab minor (less common)

 

on Major Scales

Non diatonic passing chord to the:

• Supertonic chord in Db Major
• Mediant chord in B Major (less common) as D#mMaj9
• Submediant chord in Gb Major

 

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EbmMaj9 Function in Major and minor Keys

The EbmMaj9 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 Ebm7 chord is appropriate or feasible. Typically, this chord is found close to a variation of an Eb minor chord, such as Ebm6, Ebm7, or Ebm9, to create diatonic or chromatic modulations.

 

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EbmMaj9 as Passing Chord in Eb minor

In the key of Eb minor, the EbmMaj9 serves as a passing chord to the Tonic chord, Ebm7. The chord’s major 7th note D, clashes with the Db note found in the Eb minor scale, creating a tension that needs to be resolved. This can be achieved by transitioning the chord to a more stable Ebm7 chord, which typically occurs within the same measure as the EbmMaj9 chord.

Alternatively, the EbmMaj9 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.

EbmMaj9 as Passing Chord on the i degree

The following chord progressions are examples of how the Eb minor major 9th chord can serve as a passing chord toward the tonic chord (Ebm7).

 

Chromatic modulation

 

i VI VII III

This modulation is just a suggestion, and the voicing provided is merely a recommendation. Play the root note Eb 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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EbmMaj9 as Passing Chord in Bb minor

The EbmMaj9 chord can be used as a passing chord in the Bb minor scale which has an Eb min7 on the fourth degree.

EbmMaj9 as Passing Chord on the iv degree

The following chord progressions feature an EbmMaj9 chord in modulation to the iv degree in the key of Bb minor

 

iv III VI VII

 

i iv VI v

 

Circle Progression

 

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EbmMaj9 as Passing Chord in Ab minor

In the Ab natural minor scale, the EbmMaj9 chord can serve as a passing chord within the fifth degree, Ebm7.

EbmMaj9 as Passing Chord on the v degree

 

i iv VI v

 

i v VI VII

 

i VI v iv

 

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EbmMaj9 as Passing Chord in Db Major

In the Db major scale, the EbmMaj9 chord can also serve as a passing chord on the ii degree.

EbmMaj9 as Passing Chord on the ii degree

 

ii V I

 

Circle Progression

 

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EbmMaj9 as Passing Chord in Cb Major

Check D#mMaj9 in B Major

 

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EbmMaj9 as Passing Chord in Gb Major

You can play the EbmMaj9 in a modulation on the sixth degree of the Gb major scale.

EbmMaj9 as Passing Chord on the vi degree

 

I iii vi V

 

I vi ii V

 

Circle Progression

 

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Alternative Names for EbmMaj9 Chord

• Eb-Δ9
• Eb mM9
• Eb m(Δ9)
• Eb-Δmaj9
• Eb minΔ9
• Eb-(Maj9)
• Eb mM7/9
• Eb m7+(9)
• Eb-Δ(add9)
• Eb minorΔ9
• Eb mΔ add2
• Eb mΔ add9
• Eb min maj9
• Eb min/maj9
• Eb min(Maj9)
• Eb min(Maj9)
• Eb m(maj7/9)
• Eb m(+7) add2
• Eb m(+7) add9
• Eb minor(Maj9)
• Eb m(maj7) add9
• Eb m(maj7) add2
• Eb minor major 9
• Eb 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 EbmMaj9 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.