Construction
| Note | Interval | Degree |
|---|---|---|
| F | Root | 1 |
| A | Major 3rd | 3 |
| C | Perfect 5th | 5 |
| E | Major 7th | 7 |
| G | Major 2nd | 9 |
Fingering
| Note | Key color | Right hand | Left hand |
|---|---|---|---|
| F | white | thumb (1) | little finger (5) |
| A | white | index finger (2) | ring finger (4) |
| C | white | middle finger (3) | middle finger (3) |
| E | white | ring finger (4) | index finger (2) |
| G | white | little finger (5) | thumb (1) |
Right hand: thumb (1) on F, index finger (2) on A, middle finger (3) on C, ring finger (4) on E, little finger (5) on G.
Left hand: little finger (5) on F, ring finger (4) on A, middle finger (3) on C, index finger (2) on E, thumb (1) on G.
Key Signature
A chord has no key signature of its own, but the F Major 9th is the tonic (I) chord of F Major, whose key signature has 1 flat (B♭).
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 F Major
These are the triads built on each degree of F Major:
Scales That Include the F Major 9th
- C Major (IV)
- F Major (I)
- A Minor (VI)
- D Minor (III)
- D Dorian (III)
- E Phrygian (II)
- F Lydian (I)
- G Mixolydian (VII)
F Major 9th : Frequently Asked Questions
What is the F Major 9th chord on piano?
What notes are in the F Major 9th chord?
How does Fmaj9 differ from F9?
How is Fmaj9 used in music?
What songs use Major 9th chords?
How does Fmaj9 differ from Fadd9?
Do I need to play all five notes?
F Major 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 | F3 A3 C4 E4 G4 | 14 | 193 mm | none | identical | |
| Close, first inversion | A3 C4 E4 F4 G4 | 10 | 138 mm | none | identical | |
| Close, second inversion | C4 E4 F4 G4 A4 | 9 | 124 mm | none | identical | |
| Close, third inversion | E4 F4 G4 A4 C5 | 8 | 110 mm | none | identical | |
| Close, fourth inversion | G3 A3 C4 E4 F4 | 10 | 138 mm | none | identical | |
| Drop 2 | E3 F3 A3 C4 G4 | 15 | 206 mm | none | identical | |
| Drop 3 | C3 F3 A3 E4 G4 | 19 | 261 mm | none | identical | |
| Drop 2 and 4 | A2 E3 F3 C4 G4 | 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 | F2 G3 A3 | 16 | 220 mm | omits C | subset | |
| Guide tones, 3 and 9 | A3 G4 | 10 | 138 mm | omits F and C | subset | |
| Rootless close | A3 C4 E4 G4 | 10 | 138 mm | omits F | 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 | F | F3, A3, C4, E4, G4 | 9 | 14 | 193 mm |
| First inversion: Fmaj9/A | A | A3, C4, E4, F4, G4 | 7/6/5 | 10 | 138 mm |
| Second inversion: Fmaj9/C | C | C4, E4, F4, G4, A4 | 7/4/3 | 9 | 124 mm |
| Third inversion: Fmaj9/E | E | E4, F4, G4, A4, C5 | 7/4/2 | 8 | 110 mm |
| Fourth inversion: Fmaj9/G | G | G3, A3, C4, E4, F4 | 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 |
|---|---|---|---|
| Fmaj7 | drops G | 1 3 5 7 | 4 |
| Fadd9 | drops E | 1 3 5 9 | 4 |
| F9 | E becomes E♭ | 1 3 5 ♭7 9 | 4 |
| F7 | E, G becomes E♭ | 1 3 5 ♭7 | 3 |
| FmMaj7 | A, G becomes A♭ | 1 ♭3 5 7 | 3 |
| F6 | E, G becomes D | 1 3 5 6 | 3 |
| Fm9 | A, E becomes A♭, E♭ | 1 ♭3 5 ♭7 9 | 3 |
Frequencies
| Note | MIDI | Frequency |
|---|---|---|
| F3 | 53 | 174.61 Hz |
| A3 | 57 | 220.00 Hz |
| C4 | 60 | 261.63 Hz |
| E4 | 64 | 329.63 Hz |
| G4 | 67 | 392.00 Hz |
Reference pitch A440, 12-TET, close root position.
Set theory: prime form, Forte number, interval vector
- Absolute pitch class set
- {5, 9, 0, 4, 7}
- Normal order
- [4, 5, 7, 9, 0]
- Prime form
- (01358)
- Forte number
- not claimed for this cardinality
- Interval vector
- <122230>
| Pair | Interval | Semitones | Interval class |
|---|---|---|---|
| F to A | Major third | 4 | 4 |
| F to C | Perfect fifth | 7 | 5 |
| F to E | Major seventh | 11 | 1 |
| F to G | Major ninth | 14 | 2 |
| A to C | Minor third | 3 | 3 |
| A to E | Perfect fifth | 7 | 5 |
| A to G | Minor seventh | 10 | 2 |
| C to E | Major third | 4 | 4 |
| C to G | Perfect fifth | 7 | 5 |
| E to G | Minor third | 3 | 3 |
Where these facts come from
Every value on this page is derived from the note formula for a major 9th applied to the root F, 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.