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The Minor 9th Chords Guitar Lesson

Home > Guitar Lessons > Beginners > Basic Guitar with David Anthony > The Minor 9th Chords
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David Anthony

The Minor 9th Chords

Now that David has covered the major 9th chords, he will move on to the minor 9th chords. These chords are also frequently used in the jazz and pop-rock genres.

Taught by David Anthony in Basic Guitar with David Anthony seriesLength: 21:00Difficulty: 2.5 of 5
Chapter 1: (1:03) Introduction David exhibits a funky groove that relies heavily upon Minor 9th chords.
Chapter 2: (1:23) Minor 9th Intro This lesson continues with more chords that are typically found in the jazz genre. These chords frequently find their way into funk and R&B tunes as well. David will introduce a movable shape for Minor 9ths as well as some open chord voicings.
Chapter 3: (1:21) A Minor 9 This particular shape features a movable chord shape combined with an open string. The movable shape is contained on the highest four strings. This chord is played with a barre across the fifth fret. The 9th is found on the first string, 7th fret. The AMI9 shape is an example of a Rootless Set 3 voicing. (Set 3 voicings will be discussed in greater detail in Matt’s Phase 2 Jazz Series.) The root or fifth of the chord is frequently omitted from these shapes. This is a very common chord shape used in jazz and funk. Check out “Walkabout” by the Red Hot Chili Peppers. This song’s verse consists of a funky AMI9 to D7 progression.
Chapter 4: (1:46) B Minor 9 In Scene 4, David demonstrates a very common movable MI9 shape with the root on the 5th string. In the case of BMI9, the D string is played open.
Chapter 5: (0:55) C Minor 9 When the shape for BMI9 is moved higher up the neck, the open string must be fretted with the first finger. For example, to play CMI9, slide fingers 2,3,and 4 up one fret. Then, fret the 1st fret of the D string with your first finger.
Chapter 6: (1:32) D Minor 9 Use the same movable chord shape from the last two scenes to play DMI9. Simply slide your second finger up to the 5th fret to find the root.
Chapter 7: (2:18) E Minor 9 For EMI9, David presents two different options. You can either play the shape learned in Scenes 4-6, or you can play an open chord shape. David plays this shape with the first and second fingers. If you find this fingering to be awkward, try playing it with the second and fourth fingers respectively. This fingering is more in line with the Em and EMI7 shapes you have already learned.

Similar to the EMA9 chord, the open E strings can be added to the moveable EMI9 to add some extra spice.
Chapter 8: (1:28) F Minor 9 / G Minor 9 For these chords, your only available options are the movable shapes learned earlier in this lesson. Other options will be discussed later in Matt’s Jazz series. Let’s take a look at the movable shape learned for AMI9 and apply it to FMI9. The 9th of the chord is on the 7th fret (B). The 9th of FMI9 is G. Slide your pinky down to G, and keep the same barre with your first finger. The barre will cover the first fret.
Chapter 9: (2:22) Using the Minor 9 Chords Now that you have mastered all of the shapes for the MI9 chords, it’s time to apply them to some chord progressions. The first progression that David Demonstrates consists of only two chords. It can be played with any two MI9 chords that are a whole step apart. David chooses to play the progression with CMI9 and DMI9. The C#MI9 chord can be added into this progression as a chromatic passing chord between CMI9 and DMI9. Imitate how David adds this chromatic chord to the progression. Once you feel comfortable playing this progression, begin to play it in different keys. FMI9 to GMI9 is a good key to get started with.

Another great progression involving MI9 chords is the i9 to iv9 progression. Play AMI9 to EMI9 using all combinations of chord voicings learned in this lesson. Which combinations sound good to you? Why?
Chapter 10: (3:58) Using the Major & Minor Chords Together David teaches a progression that includes shapes from both of the jazz chord lessons. This progression moves from AMI9 to AMA9 to EMI9. Make sure you play in time, even if the chords sound slightly sloppy at first!
  • MI9 Chords in Tablature
  •  
  • A Minor 9th Chord
  • B Minor 9th Chord
  • C Minor 9th Chord
  • D Minor 9th Chord
  • E Minor 9th Chord
  • F Minor 9th Chord
  • G Minor 9th Chord
  •  



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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.


albmusicianalbmusician replied on March 11th, 2011

about the A major 9 (sorry to post here), do we play all 6 strings? I did not see any indication we should or shouldn't play the low E. It sounds ok, but is it?I guess I just have to trust myself more.

cesullycesully replied on January 12th, 2009

I'm new to the site- good lesson, but I would like some more info on what his right hand is doing for the chord prog. song at the end of the lesson

jesseboy000jesseboy000 replied on January 3rd, 2009

What were you playing at the beggining? I loved that.

deliriousdelirious replied on June 11th, 2008

my fingers is too short for the universal position:| what do i do?

jboothjbooth replied on June 11th, 2008

Are you sure they are too short? It seems more likely that the issue is your hands just need to develop a bit more strength, especially if you are a new player. Regardless, if these chords are uncomfortable to you I would highly recommend practicing them, but if you need a minor 9th to play in the meantime I would look at the chord library and find another variation that is easier for you to play. But usually finger size is not the issue, hand strength and flexibility is.

deliriousdelirious replied on June 11th, 2008

are*

Basic Guitar with David Anthony

Found in our Beginner Lesson Sets

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 View Full Biography David Anthony was born 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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