How to Make a C Minor 9th Chord on the Piano

c minor 9th

The C minor 9th chord is a five note chord composed of the major third, perfect fifth, minor seventh intervals as well as the ninth from an octave above.

Chords containing a ninth include cad9 (C, E flat, G and D), madd9 (C, A flat, E flat and D) and csus2 (C, D, G and B). By adding another nine note chord, add9 chords are created as well; these chords are known as rootless drop 2 chords.


If you want to know how to form a c minor 9th chord on piano, there are a few basic notes you should learn first: these include the root, minor third, perfect fifth, minor seventh and major ninth intervals as well as their relationship.

A minor ninth chord consists of C, Eb, G and D notes and has a unique sound from that of its standard C major counterpart due to an altered ninth (a flattened ninth). This alteration creates an incongruency between root and seventh notes that results in what’s commonly known as a b9 chord.

C minor 9th chords can also be constructed without its seventh note for an even more minor sound, making this chord known as minor 7 drop 2; these notes contain all of the same notes found in a regular C minor 9th, except their 3rd and 7th are flattened out slightly.

There are various methods for building this chord depending on the key in which you’re playing, as well as changing its order which will alter its sound and create different chord tones.

To play a c minor 9th on piano, begin by starting out by playing its root note before adding seventh note, fourth note, fifth note etc until all the notes have been played. For more variations check out piano chord chart.


Triad chords, which contain three unique pitch classes, are considered very stable forms of music that provide an easy starting point to explore chords. Although these triads can be voiced differently depending on voice placement and instrument choice, all notes still belong within their designated pitch classes – one reason that makes triads an excellent place to begin exploring chords.

Triads may be major, minor, diminished or augmented depending on the quality of intervals that comprise them; as such it’s crucial that composers utilize correct triad chord symbols when writing music – particularly when adding additional notes such as sevenths or sus.

To create triad chords, we must begin by choosing the root note of our desired scale and building 1st, 3rd and 5th triads for that scale degree.

As our initial triad, we will construct a C minor triad using scale notes C, Eb, and G. This type of triad consists of a major third and flattened fifth.

Final notation for this triad will include Roman numerals with symbols representing major chords and minor chords respectively, figured bass notation to indicate how to play this chord on your instrument, root note information, chord quality information, extensions or notes that must be added, including representation via sharps/flats symbols (plus/minus signs), key information as well as which key this triad belongs in.


C minor scale produces diatonic seventh chords Cm7, Cm7b and Cm7d which can also be inverted to form new 7th chord shapes by shifting up an octave; this adds tension to a particular chord progression or provides different sounds altogether. Furthermore, C minor also generates dominant seventh chord with minor ninth, also known as dm7b chord.

Add more drama and tension to a melody or passage with diminished sevenths, creating more tension and darkness within a seventh chord. This technique can be particularly helpful when applied to jazz music.

To create a diminished seventh chord, begin by identifying the note intervals of a seventh triad on the C minor scale. The first column / scale degree displays the distance in half-tones between root and Bb – this number represents note interval name Bb-dimin-7th for further details.

Repeat for all remaining notes in the seventh triad on the C minor chart, adding the sixth and fourth notes from each chord to create the final diminished seventh chord – this process is known as 6/5/3 notation or “six-five-three position”.

Alternating with the dm7b chord, another variation can be to replace the sixth note with C – major seventh of scale to produce a major seventh chord, known as maj7 chord. Similar to its counterpart m9 chord but without dominant function – more like functional minor seventh chord.


Musical keys relate to one another through the circle of fifths, which allows musicians to observe how chords and scales relate across an entire range of pitches. Here, we look at how C minor and Eb major, its related major keys, are related by five chords, scales, intervals.

C Minor Nine chord is formed from root, minor third, perfect fifth and minor seventh notes. If omitted it will produce C6add2.

To play this chord on piano, minor 7 drop 2 voicings are ideal. These will provide easy access to its root, minor third, fifth and ninth notes – ideal for left handers! For the ninth note you may either choose to move up in bass position or use your right thumb and play both C and G notes together with ease.

Minor ninth chords are commonly used with minor melodies to produce an emotional and melancholic sound, although they can also be combined with major melodies to produce dramatic results – as seen in Beethoven’s Fifth Symphony and Mendelssohn’s First Symphony which both include this type of chord in their bass sections.

Even though minor scale and minor key chords can be relatively easy to build on piano, there are plenty of creative variations you can add your own creative touches to them using Captain Chords. Experiment with different flavors by adding additional notes outside of chord tones (known as extensions) which can drastically change how they sound – transforming its entire feel!


A tenth is the smallest diatonic scale degree interval and counts from its lower note, unlike most intervals which span multiple staff positions and count from them; instead it always starts from its lowest note – C-D is both a second (it encompasses equal staff positions as C) as well as being classified as major tenth since it covers an entire octave due to compound intervals being broken into smaller intervals with similar characteristics and one or more simple intervals of its kind.

Intervals of similar type must be combined together in order to form larger intervals, such as thirds, fourths or fifths in equal temperament; these correspond with chords from a major scale scale. A tenth cannot join to any third or seventh.

Within a diatonic scale[b], all unisons (P1) and octaves (P8) are perfect, while most fourths and fifths are either perfect (P4) or major (P5), covering five and seven semitones respectively. There may be occasional instances where there are wide intervals (A4, A5) or narrow ones (d5, D5) than are considered perfect or major intervals with similar numbers of semitones spanning five and seven semitones respectively.

Beginners often struggle to finger tenths, making the interval an awkward one to learn. An effective approach for approaching it is practicing arpeggios such as r.h. 1-2-3-4-5 and 5-3-2-1 arpeggios in parallel and contrary motion until your hand feels comfortable playing these patterns – this will give your fingers time to become acquainted with this interval, while simultaneously practicing fingerings that involve 3rds, 10ths, and 6ths (Steve Cropper frequently featured this technique in his guitar lines).