"Add 9" chords vs. "2" chords
 

We all know the first position cowboy chord G: GBDGBG

I like to add the 9th to create a G add 9 chord: GBDABG. Is that the proper name for that chord: G add 9?

The first position F chord is typically played: FCFACF.

I like to fret the low F with my thumb and then lift up my finger that's normally holding down the A in that chord so that the open G string rings instead: FCFGCF. Is that a F add 9 or a F2 chord?

If it is called a F2 chord, is it because there's no 3rd?

What determines whether it's an add 9 or 2 chord?

I thought it was this: C9 = root, third, fifth, seventh and ninth...whereas Cadd9 is root, third, fifth, ninth. In other words the "add9" or "add anything" is really just adding that note (2, 9, 13, etc) to the basic traid (root, third, fifth).

That's my understanding anyway. :)

Also from what I understand, a Cadd2 and Cadd9 are basically the same exact chord...not sure why you would use one over the other (add9 seems to be used more).

Dominant 9 would contain a flat seventh.

Regarding the Add 2 vs Add 9 thing . . I tend to think of an add 9 being further away from the root (pitched higher in the chord voicing (and in its own octave, even)) than an add 2. Of course, I could be wrong . . usually am!

Thanks!

I have been calling a chord that has the 1, 3, 5, flat 7 and 9 tones a 9th chord.

I have been calling a chord that has the 1, 3, 5, major 7 and 9 tones a Major 9th chord.

And I've been calling a chord that adds the 9th to a 1, 3, 5 chord an Add 9 chord.

I was thinking that a chord that adds the 9th to a simple 1, 5 chord would be a 2nd chord.

The 2nd and the 9th are the same note, but an octave apart to my way of thinking.

But I don't really know! That's why I'm asking.

BTW, the reason I'm asking is that I'm setting up three of my four diatonic autoharps with new chord bars from Buck Lumbert and I want to add these chords and label them correctly.

I'm a pretty decent autoharp player, but like to jazz it up. http://www.lumbert.net/chordbars.shtml

Thanks again!

I second this view (no pun intended ;) ). I believe there is variation in the nomenclature. If there is no 7th, then it can be called wither an "add 9", "add 2". A "sus 2" would indicate the 3rd is replaced by the 2, such as in the 'F' chord described in the original post.

If you can stretch your fingers to include the tonic, 2nd and (major) 3rd, you have what Becker and Fagen (Steely Dan) called the "mu major". Such as (low to high):

E mu: 0-2-4-1-0-0
A mu: x-0-2-4-2-0
C mu: x-3-2-0-3-0

Stretch and learn the barred versions of these and you'll be rockin' like Denny Dias. :up:

Larry, what would you call this first position chord based on E: E B F# G# B E ? (The E, B and E would be open strings)

Or this first position chord based on A: E A E B C# E ? (The E, A and E would be open strings)

I'd call them both "add 9th" chords - a 1 3 5 triad with the 9th tone "added".

But again: I don't know what to call these chords! That's why I'm asking. ;)

I've got my own naming system that's not to much different than yours Larry. It might not get me a passing grade at Berklee but it works for me:

A major triad (CEG) with a 9th added to it, I call an "add 9" chord and I think of the 9th as being the 1 or 8th raised a whole step to a 9th.

A major 7th chord (CEGB) with a 9th added, I call a Major 9th chord.

A 7th chord (CEG Bflat) with a 9th added, I call a "9th" chord.

A 7th chord (CEG Bflat) with a 9th and also the 13th added, I call a "13th" chord.

A chord without the 3rd (CG) with the 2nd or 9th added, I call an add 9th chord too - but it's probably more correctly called a 2nd chord.

If there is a 7th, it is a 9th.
If there is no 7th, it is a 2nd.

This has always been my understanding, and seems to be the understanding of most on this thread.

Wow, lots of confusion here. Let me see if I can clear this up...it's not hard really.

An add9 chord does not have a seventh. "add" implies you add whatever is after the add to whatever is before...so a Cadd9 is a 9th added to a C major chord.

Gypsyblue has the formulas right.

add9: R, 3, 5, 9

maj9: R, 3, 5, 7, 9

9 (dominant chord) : R, 3, 5, b7, 9

2 or "sus2" R, 2, 5

It's not so important that the "2" be voiced above the root but below the fifth, the important thing to remember is that a 2 or sus2 chord is implying there's no 3rd...

Depending on who's writing the chart and what kind of music is being played, a player mght have some wiggle room in this...in a jazz context for example, most folks writing the charts leave it to the players ears to make some decisions...in a pop or rock context, I tend to follow the chords a little more strictly.

I always wished there was a more compact way to write "add 9" chords. All the others have fairly compact ways to write them (as long as you're willing to go with C2 vs Csus2) I've seen C+9 used, but that just causes confusion with augmented chords. Hmmmm. I think I'm going to start going with C&9 and see if it catches on.... (then again, maybe not)

And, maybe Im wrong too. Is there any accepted compact way of writing the add9's?

I think add9 is already pretty compact... but maybe that's because I just wrote out a chart that has an Ebmaj7#11/B chord in it:)

Whatever you do, don't use the "+."

One disagreement with GypsyBlue and mr. beaumont:

I believe a maj9 is R 3 5 6 9.

I had never heard of R 3 5 7 9 before I saw it here. I just tried it, and it does not sound familiar either.