Major 9th chords have an ethereal, "floaty" sound. These chords are primarily used in the jazz and pop-rock genres. David explains how to form major 9th chords and how they function in a musical context.
Taught by David Anthony in Basic Guitar with David Anthony seriesLength: 24:34Difficulty: 2.0 of 5
1. Always play on the very tips of your fingers.Chapter 9: (2:40) G Major 9 Like the FMA9 chord, GMA9 features a couple open strings in conjunction with low fretted notes. Consequently, you will run into many of the same issues while learning this chord. The five guidelines above will solve any potential problems that might arise. Chapter 10: (5:46) Using Major 9th Chords In this scene, you will learn how to play the intro music to this lesson. This chord progression consists exclusively of MA9 chord voicings. E Major is the key of the progression. It does feature some accidentals however. Accidentals are notes that are not part of the key signature. For example, the progression moves from EMA9 to CMA9. In the key of E, C is normally sharp. Since C is natural in this case, it is referred to as an accidental. Natural signs, sharps, and flats indicate an accidental.
2. Keep all of your knuckles slightly bent and relaxed. Do not straighten or flatten any of your joints!
3. Keep the nails on your left hand as short as possible.
4. Bent the left wrist outwards. This will prevent you from accidentally muting open strings.
5. Keep all left-hand fingers as close to the fretwire as possible.

David Anthony is an acoustic guitar aficionado. In this series you will learn basic concepts that are essential to playing any style of guitar music.
About David Anthony
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David Anthony was born David Anthony Volckmann, on November 9th, 1982, in the small town of Mount Hope, NY. As a child he absorbed the church flavored musical environment that his parents provided. With this influence he realized at a young age that music would not simply be a passive experience for him. It was not until the age of 15 that he decided to string up his first guitar. Relying solely on his father for his foundational chord knowledge, he quickly became enamored with the possibility of endless melodic structures, and the goal of becoming a fantastic player himself.
His early shredder influences came from Kirk Hammet of Metallica. During his first few years of guitar playing, he developed a very workable knowledge of pentatonic, major and minor scales.
Over the years his musical interests swayed from rock to standards, from jazz to classical, and a strong love of the art of flamenco guitar; Spanish finger style. It was not until the age of 18
that he decided to surround himself entirely with the music of Steve Vai and Joe Satriani. This influential exclusivity enabled him to learn more about thinking outside of the musical box. In
one year he had learned than in the prior 3 years. Picking up multiple ways to structure melodies, create chords and use different modes, his writing and improvisational abilities grew exponentially.
In his senior year of high school, he was responsible for the development of the first Musical Appreciation class in the schools history, and had aided the instructor in the teaching of those classes.
After high school, his focus started to rest mainly in writing. With this he realized that he would need additional, abstract influences to develop a unique style of writing. After a couple more
years of playing in a small band, and writing some decent material, he greeted 2004 with a move to Nashville, TN. There he found the exact influence that would change his opinion of the guitar forever.
Attempting to weed out a strong foundation in shredding and solo techniques, he began learning finger style guitar, and quickly realized the options that his door would open for him.
As he picked up more complex chord structures and jazz scales, his style became a passion for him that continues to drive him and push him to learn more. He feels strongly about the connection
between musical input and the music you write. He notes that his subconscious pool of influence, developed from the music he listens to, is almost directly responsible for the type of music that
he writes. He adamantly believes that in order to create a unique, soulful style, the pool must remain unpolluted by substandard music. What's that mean? As David puts it, "If you don't want to play
crap, don't listen to crap."
David currently teaches Jazz guitar in Fort Collins, Colorado, with plans to move back to Nashville in the spring to pursue a career in writing.
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Member Comments about this Lesson
Discussions with our instructors are just one of the many benefits of becoming a member of JamPlay.nice lesson, though can't really get a hang of the 'open' Fmaj9. would have been nice to get some theory into it, for example in a C major progression, can I just play Fmaj9 instead of Fmajor? would it be right if someone is soloing over?
still having trouble understanding the construction of these "9th" chords. the 9th is just the note above the octave of the root, right?
yeah, after 8, and scientist can't explain it yet so you might have to take it on faith, is 9.
I like the flow of the chords and sliding up and down the neck for finger exercises.
Isnt there a wrong in the tab on B major 9th ?
I think a better voice for the Fmaj9 chord is, instead of 10301x, as suggested in the lesson, would be 10201x or 103010 There's no need to sacrifice the maj 7th (E) to repeat again the root. :) The chord explained in the lesson is better named Fadd9.