Extensions and Major Ninth Chords

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Tim RichardsWhat's in the course
31 lessons (1h 44m) · 1 freeLesson transcript
Adding Ninth Chords to Basic Seventh Chords
In this chapter, we're going to look at adding notes to the basic seventh chords, which by now you should be pretty familiar with, to create ninth chords. This will give the harmony a much richer sound, and things are going to start sounding much more jazzy as well.
Understanding the C Scale
Let's look at the scale of C:
- Once we get above C, we're into the upper extensions.
- The first extension above:
- 7
- 8
- 9 (that's the same note as the second).
If we continued up the scale, you'd get back to the third, which you could call 10.
- The fourth is also called the 11th.
- The fifth is the 12th.
- The sixth note is the 13th.
So those are the upper stages, up to the 13th.
Focus on the Ninth Chords
For a C scale triad, two chords up in thirds, and above the seventh:
- You've got 9, 11, and 13.
We're mainly going to be focusing on the 9 chords.
Playing C Major Chord
For a C major chord, that's the full chord with five notes:
- Root
- Chord
- Third
- Fifth
- Seventh
However, most people can't play that all at once. If you try to play it in one hand, you'd struggle. So usually, this root goes down an octave or maybe disappears, leading to what looks like E minor 7.
If you played it in the left hand, that would be here.
- This could either be E minor 7, but if you knew that there was a C in the bass, that would be C major 9.
It's written as:
- Cmaj9 (with a triangle or the word major and 9)
- or E minor 7 with C bass.
Arpeggio Practice
Let's try playing the C major 7 chord in the left hand and then play an arpeggio starting on the third:
- This is a 3, 5, 7, 9 arpeggio.
If you like, you can use this type of shape in the next piece: Still Dreaming.
Expanding Beyond C
Remember, we'll be practicing not just on C but also on:
- F
- E flat major
- A flat major
- B flat major
Just remind yourself that these look like minor sevenths.
If you start on the third of the major chord and go up to the ninth, the shape that will be under your fingers will resemble A minor 7th.
For example:
- B flat major 9 looks like D minor 7, but don't forget the root is B flat.
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Meet your guru

Meet your guru
Critically acclaimed jazz pianist and composer Tim Richards is one of Britain’s most experienced jazz educators, teaching piano privately for over 30 years, as well as at Morley College, Goldsmiths College, the University of Surrey, Premises Studios and other venues in the UK and abroad. He has produced numerous titles for Schott Music, including the best-selling two-volume Exploring Jazz Piano, Blues, Boogie & Gospel Collection and the acclaimed Improvising Blues Piano. He is also co-author, with John Crawford, of Exploring Latin Piano and Brazilian Piano Collection.
More recently Schott have published Jazz, Latin & Modern Collection (15 pieces for solo piano), comprising Tim Richards originals alongside pieces by Duke Ellington and Thelonious Monk, and the two volume set Beginning Jazz Piano (now a two-part MusicGurus course).
“The real joy of Tim’s music… is that it is both hugely educational but also such great fun to play. Anyone with the slightest interest in learning to play or teach jazz piano should really acquire a set of Tim’s books.” PianoDao
As a performer Tim has been a presence on the UK jazz scene since the 1980s, also playing the blues with UK and US legends such as Otis Grand, Earl Green, Dana Gillespie, Larry Garner, Joe Louis Walker and Mojo Buford. He has released over a dozen albums as a leader (featuring many of London’s best jazz musicians including Pete King, Gilad Atzmon, Tony Kofi, Jason Yarde, Seb Rochford, Ed Jones, Dick Pearce and many others), and toured all over Europe with line-ups ranging from duo to nine-piece. His latest recording, the album ‘Telegraph Hill’ by the six-piece Hextet, was described in The Observer as "A true joy from beginning to end".
More info can be found on his website www.timrichards.ndo.co.uk











































