Piano Diagram of Cm9 in Root Position
The Cm9 chord consists of six notes which are the root note (C), the minor third (Eb), the perfect fifth (G), the minor seventh (Bb), and the major ninth (D). This chord is often used as an alternative or as a transition for minor 7th chords.
Structure of Cm9
Notes |
|---|
| C, Eb, G, Bb, D |
Intervals |
|---|
| R, m3, 5, m7, 9 |
Playing Extended Chords on Piano
Extended chords are commonly used in piano playing, but they can be tricky to play in their entirety due to the large number of notes involved. To make these chords more manageable, pianists often omit certain notes, such as the root or the 5th. Another technique is to split the chord between both hands, playing either full or partial chords in each hand.
For instance, in this scenario, you may opt to play a simplified version of Cm9 by omitting the 5th note. This way, you will only need to play the root note C (which can be played using your left hand), the minor 3rd Eb, the minor 7th Bb, and the 9th note D with your right hand.
However, even when notes are omitted or split between hands, extended chords can still create complex and dense harmonies. When these chords are inverted, the resulting clusters of notes can be particularly challenging to voice effectively.
Cm9 Chord Inversions
The Cm9 chord has a total of 4 inversions:
| Root Position: | C | Eb | G | Bb | D |
| 1st Inversion: | Eb | G | Bb | C | D |
| 2nd Inversion: | G | Bb | C | D | Eb |
| 3rd Inversion: | Bb | C | D | Eb | G |
| 4th Inversion | D | Eb | G | Bb | C |
Piano Keyboard Diagrams
Chord Inversion on Piano
Having a solid understanding of chord inversions is a crucial aspect of music theory because it helps to clarify how chords are built and used in progressions. However, when playing chord inversions on a piano, it’s important to keep in mind that the diagrams that demonstrate the order of notes may not always be practical to play.
To achieve the correct chord voicings on a piano, you need to spread the notes of the chord across different octaves and positions on the keyboard. This often means that the basic shape of the chord’s inversions illustrated in diagrams may not be the most convenient or comfortable way to play the chord.
Even though chord inversion diagrams can help understand the structure and sequence of notes in a chord, it’s advisable to experiment with various voicings and fingerings to find the most efficient and comfortable way to play the chord while still maintaining its intended harmonic function and sound.
Music Theory and Harmony of Cm9
The Cm9 chord is essentially a Cm7 with a 9th added. While it can be substituted for the Cm7 chord in any position, it is commonly used in conjunction with it. Nonetheless, it’s worth noting that certain positions may not be as effective when substituting Cm9 for Cm7, and in some positions, the Cm9 is a non-diatonic chord.
Building the Cm9 Chord: Different Approaches
Starting from the C Major Scale
To build a minor 9th chord, you would start 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.
To create a Cm9 chord, apply the formula R, m3, 5, m7, 9 in the following manner:
- Begin with the Root note, C.
- Select the 3rd interval, E then subtract a half-step to get the minor 3rd Eb.
- Add the 5th interval, which is G.
- Add the minor 7th interval, which is the 7th (B) less a half-step, Bb.
- Finally, include the major 9th interval, which is the second note at a higher octave, D.
By following this simple formula, you can create a minor 9th chord from any major scale.
by Combining Intervals
One method to create a minor 9th chord is by combining specific intervals – a minor 3rd, a major 3rd, a minor 3rd, and a major 3rd. This is the formula:
m3 + 3 + m3 + 3 = minor 9th Chords
When analyzing the Cm9 chord, we can observe that:
- the interval between C and Eb is a minor 3rd,
- between Eb and G is a major 3rd,
- between G and Bb is a minor 3rd,
- and between Bb and D is a major 3rd.
by Combining Chords
Another way to create minor 9th chords is to combine a minor triad with the minor chord based on its 5th note.
For example, to get a Cm9 chord, you can mix a C minor triad with a G minor chord. These two chords share the note G, and when played together, they form a Cm9 chord.
C minor + G minor = Cm9
How to Use Cm9 in a Chord Progression
The C minor 9th chord is a variation of the C minor 7th chord that includes an additional 9th note as part of its diatonic extension.
In this post, we will be focusing on the common applications of the Cm9 chord. The tables below display the major and minor keys and include the C minor 7th chord, which can be replaced or accompanied by a C minor 9th chord.
Non-diatonic positions in F minor and Ab Major
It’s important to note that the major ninth interval D present in a C min9, clashes with the Db note found in both the F minor and Ab major scales. They are very close, only a half step apart. Due to this dissonance, it’s generally recommended to avoid using a minor 9th chord in this specific situation. However, instead of completely avoiding it, you can try experimenting with a Cm9 chord in these positions to see how dissonant it sounds. Ultimately, the decision of whether or not to use it depends on your personal preference.
on Natural minor Scales
| Minor Scales | i | ii | III | iv | v | VI | VII |
|---|---|---|---|---|---|---|---|
| C | C min7 ⇒ Cm9 | Dm7b5 | Eb Maj7 | F min7 | G min7 | Ab Maj7 | Bb7 |
| G | G min7 | Am7b5 | Bb Maj7 | C min7 ⇒ Cm9 | D min7 | Eb Maj7 | F7 |
| F | F min7 | Gm7b5 | Ab Maj7 | Bb min7 | C min7 ⇒ Cm9 | Db Maj7 | Eb7 |
- Tonic chord in C minor
- Subdominant chord in G minor
- Non-diatonic Dominant chord in F minor
on Major Scales
| Major Scales | I | ii | iii | IV | V | vi | vii |
|---|---|---|---|---|---|---|---|
| Bb | Bb Maj7 | C min7 ⇒ Cm9 | D min7 | Eb Maj7 | F7 | G min7 | Am7b5 |
| Ab | Ab Maj7 | Bb min7 | C min7 ⇒ Cm9 | Db Maj7 | Eb7 | F min7 | Gm7b5 |
| Eb | Eb Maj7 | F mi7 | G min7 | Ab Maj7 | Bb7 | C min7 ⇒ Cm9 | Dm7b5 |
- Supertonic chord in Bb Major
- Non-diatonic Mediant chord in Ab Major
- Submediant chord in Eb Major
Cm9 Function in Major and Minor Keys
Understanding Scale Degrees
Understanding scale degrees is essential for comprehending the relationship between the notes within chords and how they function. The diatonic major scale consists of seven degrees, each with a distinct role in shaping the overall harmony of the chords.
- The first degree of the scale is the Tonic, serving as the foundation for the chord progression. It establishes a stable tonal center, providing an anchor for the rest of the chords in the progression.
- The second degree is called the Supertonic, often used to create a sense of motion within the chord progression. It acts as a transitional chord between the Tonic and other chords in the progression.
- The third degree of the scale is the Mediant, sitting halfway between the Tonic and Dominant chords. It helps determine whether the chord progression is major or minor.
- The fourth degree is the Subdominant, complementing the Dominant and adding tension and resolution to the chord progression.
- The fifth degree is the Dominant, creating tension and anticipation within the chord progression, typically resolved by returning to the Tonic.
- The sixth degree is the Submediant, often employed as a transitional chord between the Dominant and Tonic, adding a sense of stability and restfulness to the chord progression.
- The seventh degree is the Leading tone, located one half-step below the Tonic. It creates a strong sense of tension and a desire to resolve to the Tonic, frequently used to create a sense of resolution and finality in the chord progression.
Cm9 as Tonic Chord in C minor
The C minor 9th chord is an interesting choice for the tonic chord in the C minor key because of the added tension and dissonance of the 9th interval (D). This creates an unstable and uncertain sound that can be useful for creating tension. However, it’s important to note that this dissonance can make the chord difficult to use in some musical situations.
The Cm9 can be used to modulate between keys or to add harmonic color and contrast to a composition.
| i | ii | III | iv | v | VI | VII |
| C min7 | Dm7b5 | Eb Maj7 | F min7 | G min7 | Ab Maj7 | Bb7 |
Cm9 Chord Progressions as i degree
The following chord progressions are examples of how the C minor 9th chord can serve as the tonic chord (i degree).
i VI VII III
| i | VI | VII | III |
| C mi9 | Ab Maj7 | Bb7 | Eb Maj7 |
i iv VI VII
| i | iv | VI | VII |
| Cm9 | Cm7 | F min7 | Ab Maj7 | Bb7 |
I prefer resolving the C min9 chord to a more stable C chord (C minor or C minor 7th) within the same measure, but I encourage you to explore different options and experiment with other chord progressions to see what sounds best to you.
Circle Progression
| i | iv | VII | III | VI | ii | V7 | i |
| Cm9 | Cm7 | Fm7 | Bb7 | Eb Maj7 | Ab Maj7 | Dm7b5 | G7 | C min7 |
Cm9 as Subdominant Chord in G minor
The C minor 9th can also be played as a variation of the subdominant chord in the key of G minor.
| i | ii | III | iv | v | VI | VII |
| G min7 | Am7b5 | Bb Maj7 | C min7 | D min7 | Eb Maj7 | F7 |
Cm9 Chord Progressions as iv degree
The following chord progressions feature a Cm9 chord as the subdominant (iv degree):
iv III VI VII
| iv | III | VI | VII |
| C min9 | Bb Maj7 | Eb Maj7 | F7 |
i iv VI v
| i | iv | VI | v |
| G min7 | C min9 | Eb Maj7 | D min7 |
Circle Progression
| i | iv | VII | III | VI | ii | V7 | i |
| G min7 | Cm9 | Cm7 | F7 | Bb Maj7 | Eb Maj7 | Am7b5 | D7 | G min7 |
Cm9 as Dominant Chord in F minor (Non-Diatonic)
The Cm9 chord may not be the ideal choice as a variation of the dominant chord in the F minor scale due to the major 9th interval being only a half-step away from the Db note found in this scale.
| i | ii | III | iv | v | VI | VII |
| F min7 | Gm7b5 | Ab Maj7 | Bb min7 | C min7 | Db Maj7 | Eb7 |
Cm9 as v degree – Chord Progressions
If you want to hear how the C minor 9th chord sounds as the dominant (V) chord in the F minor key, try playing the following chord progressions.
i iv VI v
| i | iv | VI | v |
| F min7 | Bb min7 | Db Maj7 | Cm9 | Cm7 |
i v VI VII
| i | v | VI | VII |
| F min7 | Cm9 | Cm7 | Db Maj7 | Eb7 |
i VI v iv
| i | VI | v | iv |
| F min7 | Db Maj7 | Cm9 | Cm7 | Bb min7 |
Cm9 as Supertonic Chord in Bb Major
Besides its use in minor keys, the Cm9 chord can also be played in major keys. In the key of Bb major, for instance, the Cm9 chord can be used as the supertonic chord, located on the second degree of the scale.
| I | ii | iii | IV | V | vi | vii |
| Bb Maj7 | C min7 | D min7 | Eb Maj7 | F7 | G min7 | Am7b5 |
Cm9 Chord Progressions as ii degree
Try playing the following chord progressions to better understand how the Cm9 chord functions as the supertonic (ii) chord in the key of Bb major.
ii V I
| ii | V | I |
| Cm9 | Cm7 | F7 | Bb Maj7 |
Circle Progression
| I | IV | vii | iii | vi | ii | V | I |
| Bb Maj7 | Eb Maj7 | Am7b5 | D min7 | G min7 | Cm9 | Cm7 | F7 | Bb Maj7 |
Cm9 as Mediant Chord in Ab Major (Non-Diatonic)
In addition to its positions in minor keys and major keys, the Cm9 chord can also be played as the mediant (iii) chord in the key of Ab major, located on the third degree of the scale.
As in the case of the F minor key, it’s worth noting that in Ab major, the Db note in the scale is only a half-step away from the 9th note (D) of the Cm9 chord.
| I | ii | iii | IV | V | vi | vii |
| Ab Maj7 | Bb min7 | C min7 | Db Maj7 | Eb7 | F min7 | Gm7b5 |
Cm9 Chord Progressions as iii degree
To better understand how the Cm9 serves as the mediant (iii) in the Ab major scale, you can try playing the following chord progressions:
I iii IV V
| I | iii | IV | V |
| Ab Maj7 | Cm9 | Cm7 | Db Maj7 | Eb7 |
I iii ii V
| I | iii | ii | V |
| Ab Maj7 | Cm9 | Cm7 | Bb min7 | Eb7 |
I iii vi V
| I | iii | vi | IV |
| Ab Maj7 | Cm9 | Cm7 | F min7 | Db Maj7 |
Cm9 as Submediant Chord in Eb Major
The Cm9 chord can be played on the sixth degree of the Eb major scale, as a variation of the submediant chord.
| I | ii | iii | IV | V | vi | vii |
| Eb Maj7 | F min7 | G min7 | Ab Maj7 | Bb7 | C min7 | Dm7b5 |
Cm9 as vi degree – Chord Progressions
You can explore the sound of Cm9 as the submediant chord in the key of Eb major by playing the following chord progressions:
I iii vi V
| I | iii | vi | V |
| Eb Maj7 | G min7 | Cm9 | Cm7 | Bb7 |
I vi ii V
| I | vi | ii | V |
| Eb Maj7 | Cm9 | Cm7 | F min7 | Bb7 |
Circle Progression
| I | IV | vii | iii | vi | ii | V | I |
| Eb Maj7 | Ab Maj7 | Dm7b5 | G min7 | Cm9 | Cm7 | Fm7 | Bb7 | Eb Maj7 |
Alternative Cm9 Nomenclature
- C m9
- C -7/9
- C min9
- C m7/9
- C minor9
- C min7/9
- C -7(add9)
- C minor7/9
- C m7(add9)
- C minor 9th
- C min7(add9)
- C min7(add9)
- C Dominant minor 9th
- C Dominant minor ninth
Conclusion
The chord progressions and examples provided in this post offer a comprehensive overview of common uses of the C min9 chord. However, it’s important to acknowledge that due to space limitations, certain advanced topics in harmony couldn’t be included. These topics encompass chord progressions based on harmonic and melodic scales, modal scales, hidden tonality, secondary dominants, chord substitutions, non-functional harmony, atonal music, modal interchange, borrowed chords, voice leading, counterpoint, chromatisms, jazz harmony, and more. Music theory is a vast subject!
While I couldn’t cover all these topics in this post, I encourage readers to further explore these areas through their own study and research. By delving into these advanced aspects of music theory, you can develop a deeper understanding of the diverse harmonic possibilities that extend beyond the fundamental concepts presented here.