Construction
| Note | Interval | Degree |
|---|---|---|
| A♭ | Root | 1 |
| C | Major 3rd | 3 |
| E♭ | Perfect 5th | 5 |
| G♭ | Minor 7th | ♭7 |
| B♭ | Major 2nd | 9 |
Fingering
| Note | Key color | Right hand | Left hand |
|---|---|---|---|
| A♭ | black | thumb (1) | little finger (5) |
| C | white | index finger (2) | ring finger (4) |
| E♭ | black | middle finger (3) | middle finger (3) |
| G♭ | black | ring finger (4) | index finger (2) |
| B♭ | black | little finger (5) | thumb (1) |
Right hand: thumb (1) on A♭, index finger (2) on C, middle finger (3) on E♭, ring finger (4) on G♭, little finger (5) on B♭.
Left hand: little finger (5) on A♭, ring finger (4) on C, middle finger (3) on E♭, index finger (2) on G♭, thumb (1) on B♭.
Key Signature
A dominant chord points home to the key a fifth below its root: the A♭ Dominant 9th is the V (dominant) of D♭ Major, so the relevant key signature is that key's — 5 flats (B♭, E♭, A♭, D♭, G♭). Spelled as a scale, these notes are Ab Mixolydian.
Order of flats
Flats are added in a fixed order — the reverse of the sharp order. Each new flat key adds the next flat on the list.
Mnemonic: Battle Ends And Down Goes Charles’ Father
Chords in the Key of A♭ Major
These are the triads built on each degree of A♭ Major:
Scales That Include the A♭ Dominant 9th
- Db Major (V)
- Bb Minor (VII)
- Eb Dorian (IV)
- F Phrygian (III)
- Gb Lydian (II)
- Ab Mixolydian (I)
- Bb Aeolian (VII)
- C Locrian (VI)
A♭ Dominant 9th : Frequently Asked Questions
What is the A♭ Dominant 9th chord on piano?
What notes are in the Ab Dominant 9th chord?
How is Ab9 used in music?
What is the scale degree formula for Ab9?
A♭ Dominant 9th in detail
Exact
Every pitch class is present and nothing outside the chord is added.
| Type | Notes | Semitones | Span | Omissions and additions | Set relation | Fit |
|---|---|---|---|---|---|---|
| Close, root position | A♭3 C4 E♭4 G♭4 B♭4 | 14 | 193 mm | none | identical | |
| Close, first inversion | C4 E♭4 G♭4 A♭4 B♭4 | 10 | 138 mm | none | identical | |
| Close, second inversion | E♭4 G♭4 A♭4 B♭4 C5 | 9 | 124 mm | none | identical | |
| Close, third inversion | G♭4 A♭4 B♭4 C5 E♭5 | 9 | 124 mm | none | identical | |
| Close, fourth inversion | B♭3 C4 E♭4 G♭4 A♭4 | 10 | 138 mm | none | identical | |
| Drop 2 | G♭3 A♭3 C4 E♭4 B♭4 | 16 | 220 mm | none | identical | |
| Drop 3 | E♭3 A♭3 C4 G♭4 B♭4 | 19 | 261 mm | none | identical | |
| Drop 2 and 4 | C3 G♭3 A♭3 E♭4 B♭4 | 22 | 303 mm | none | identical |
Reduced
A subset of the pitch classes: the identity is incomplete rather than altered.
| Type | Notes | Semitones | Span | Omissions and additions | Set relation | Fit |
|---|---|---|---|---|---|---|
| Shell, root 9 3 | A♭2 B♭3 C4 | 16 | 220 mm | omits E♭ | subset | |
| Guide tones, 3 and 9 | C4 B♭4 | 10 | 138 mm | omits A♭ and E♭ | subset | |
| Rootless close | C4 E♭4 G♭4 B♭4 | 10 | 138 mm | omits A♭ | subset |
Spans are measured centre to centre at a 165 mm octave (standard keyboard geometry).
| Position | Bass note | Notes in order | Figured bass | Semitones | Span |
|---|---|---|---|---|---|
| Root position | A♭ | A♭3, C4, E♭4, G♭4, B♭4 | 9 | 14 | 193 mm |
| First inversion: A♭9/C | C | C4, E♭4, G♭4, A♭4, B♭4 | 7/6/5 | 10 | 138 mm |
| Second inversion: A♭9/E♭ | E♭ | E♭4, G♭4, A♭4, B♭4, C5 | 7/4/3 | 9 | 124 mm |
| Third inversion: A♭9/G♭ | G♭ | G♭4, A♭4, B♭4, C5, E♭5 | 7/4/2 | 9 | 124 mm |
| Fourth inversion: A♭9/B♭ | B♭ | B♭3, C4, E♭4, G♭4, A♭4 | 9/7/5 | 10 | 138 mm |
One position per chord tone in the bass. Spans are for close position: voiced inversions appear under Voicings.
| Progression | Key | Role | Sequence | Voice leading |
|---|
Root motion, common tones and voice displacement are computed from pitch class sets. Roman numerals follow common practice functional harmony.
Change one note
Chords a single note away, and what moving that note does.
| Chord | Change | Formula | Common tones |
|---|---|---|---|
| A♭7 | drops B♭ | 1 3 5 ♭7 | 4 |
| A♭add9 | drops G♭ | 1 3 5 9 | 4 |
| A♭maj9 | G♭ becomes G | 1 3 5 7 9 | 4 |
| A♭m9 | C becomes C♭ | 1 ♭3 5 ♭7 9 | 4 |
| A♭maj7 | G♭, B♭ becomes G | 1 3 5 7 | 3 |
| A♭m7 | C, B♭ becomes C♭ | 1 ♭3 5 ♭7 | 3 |
| A♭aug7 | E♭, B♭ becomes E | 1 3 ♯5 ♭7 | 3 |
| A♭7sus4 | C, B♭ becomes D♭ | 1 4 5 ♭7 | 3 |
| A♭6 | G♭, B♭ becomes F | 1 3 5 6 | 3 |
Frequencies
| Note | MIDI | Frequency |
|---|---|---|
| A♭3 | 56 | 207.65 Hz |
| C4 | 60 | 261.63 Hz |
| E♭4 | 63 | 311.13 Hz |
| G♭4 | 66 | 369.99 Hz |
| B♭4 | 70 | 466.16 Hz |
Reference pitch A440, 12-TET, close root position.
Set theory: prime form, Forte number, interval vector
- Absolute pitch class set
- {8, 0, 3, 6, 10}
- Normal order
- [6, 8, 10, 0, 3]
- Prime form
- (02469)
- Forte number
- 5-34
- Interval vector
- <032221>
| Pair | Interval | Semitones | Interval class |
|---|---|---|---|
| A♭ to C | Major third | 4 | 4 |
| A♭ to E♭ | Perfect fifth | 7 | 5 |
| A♭ to G♭ | Minor seventh | 10 | 2 |
| A♭ to B♭ | Major ninth | 14 | 2 |
| C to E♭ | Minor third | 3 | 3 |
| C to G♭ | Tritone | 6 | 6 |
| C to B♭ | Minor seventh | 10 | 2 |
| E♭ to G♭ | Minor third | 3 | 3 |
| E♭ to B♭ | Perfect fifth | 7 | 5 |
| G♭ to B♭ | Major third | 4 | 4 |
Where these facts come from
Every value on this page is derived from the note formula for a dominant 9th applied to the root A♭, using standard music theory. Nothing here is hand-entered per chord, so the notes, intervals, inversions and frequencies cannot drift out of agreement with each other. Pitches assume 12-TET at A440.