Construction
| Note | Interval | Degree |
|---|---|---|
| C | Root | 1 |
| E♭ | Minor 3rd | ♭3 |
| G | Perfect 5th | 5 |
| B♭ | Minor 7th | ♭7 |
| D | Major 2nd | 9 |
Fingering
| Note | Key color | Right hand | Left hand |
|---|---|---|---|
| C | white | thumb (1) | little finger (5) |
| E♭ | black | index finger (2) | ring finger (4) |
| G | white | middle finger (3) | middle finger (3) |
| B♭ | black | ring finger (4) | index finger (2) |
| D | white | little finger (5) | thumb (1) |
Right hand: thumb (1) on C, index finger (2) on E♭, middle finger (3) on G, ring finger (4) on B♭, little finger (5) on D.
Left hand: little finger (5) on C, ring finger (4) on E♭, middle finger (3) on G, index finger (2) on B♭, thumb (1) on D.
Key Signature
A chord has no key signature of its own, but the C Minor 9th is the tonic (i) chord of C Minor, which shares the signature of its relative major, E♭ Major: 3 flats (B♭, E♭, A♭).
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 C Minor
These are the triads built on each degree of C Minor:
Scales That Include the C Minor 9th
- Eb Major (vi)
- Bb Major (ii)
- G Minor (iv)
- C Minor (i)
- F Dorian (v)
- G Phrygian (iv)
- Ab Lydian (iii)
- Bb Mixolydian (ii)
C Minor 9th : Frequently Asked Questions
What is the C Minor 9th chord on piano?
What notes are in the C Minor 9th chord?
How does Cm9 differ from C9?
How does Cm9 differ from Cm7?
How is Cm9 used in music?
What songs use Minor 9th chords?
Do I need to play all five notes?
C Minor 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 | C3 E♭3 G3 B♭3 D4 | 14 | 193 mm | none | identical | |
| Close, first inversion | E♭3 G3 B♭3 C4 D4 | 11 | 151 mm | none | identical | |
| Close, second inversion | G3 B♭3 C4 D4 E♭4 | 8 | 110 mm | none | identical | |
| Close, third inversion | B♭3 C4 D4 E♭4 G4 | 9 | 124 mm | none | identical | |
| Close, fourth inversion | D3 E♭3 G3 B♭3 C4 | 10 | 138 mm | none | identical | |
| Drop 2 | B♭2 C3 E♭3 G3 D4 | 16 | 220 mm | none | identical | |
| Drop 3 | G2 C3 E♭3 B♭3 D4 | 19 | 261 mm | none | identical | |
| Drop 2 and 4 | E♭2 B♭2 C3 G3 D4 | 23 | 316 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 | C2 D3 E♭3 | 15 | 206 mm | omits G | subset | |
| Guide tones, ♭3 and 9 | E♭3 D4 | 11 | 151 mm | omits C and G | subset | |
| Rootless close | E♭3 G3 B♭3 D4 | 11 | 151 mm | omits C | 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 | C | C3, E♭3, G3, B♭3, D4 | 9 | 14 | 193 mm |
| First inversion: Cm9/E♭ | E♭ | E♭3, G3, B♭3, C4, D4 | 7/6/5 | 11 | 151 mm |
| Second inversion: Cm9/G | G | G3, B♭3, C4, D4, E♭4 | 7/4/3 | 8 | 110 mm |
| Third inversion: Cm9/B♭ | B♭ | B♭3, C4, D4, E♭4, G4 | 7/4/2 | 9 | 124 mm |
| Fourth inversion: Cm9/D | D | D3, E♭3, G3, B♭3, C4 | 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 |
|---|---|---|---|
| Cm7 | drops D | 1 ♭3 5 ♭7 | 4 |
| C9 | E♭ becomes E | 1 3 5 ♭7 9 | 4 |
| C7 | E♭, D becomes E | 1 3 5 ♭7 | 3 |
| CmMaj7 | B♭, D becomes B | 1 ♭3 5 7 | 3 |
| Cm7♭5 | G, D becomes G♭ | 1 ♭3 ♭5 ♭7 | 3 |
| C7sus4 | E♭, D becomes F | 1 4 5 ♭7 | 3 |
| Cm6 | B♭, D becomes A | 1 ♭3 5 6 | 3 |
| Cadd9 | E♭, B♭ becomes E | 1 3 5 9 | 3 |
| Cmaj9 | E♭, B♭ becomes E, B | 1 3 5 7 9 | 3 |
Frequencies
| Note | MIDI | Frequency |
|---|---|---|
| C3 | 48 | 130.81 Hz |
| E♭3 | 51 | 155.56 Hz |
| G3 | 55 | 196.00 Hz |
| B♭3 | 58 | 233.08 Hz |
| D4 | 62 | 293.66 Hz |
Reference pitch A440, 12-TET, close root position.
Set theory: prime form, Forte number, interval vector
- Absolute pitch class set
- {0, 3, 7, 10, 2}
- Normal order
- [7, 10, 0, 2, 3]
- Prime form
- (01358)
- Forte number
- not claimed for this cardinality
- Interval vector
- <122230>
| Pair | Interval | Semitones | Interval class |
|---|---|---|---|
| C to E♭ | Minor third | 3 | 3 |
| C to G | Perfect fifth | 7 | 5 |
| C to B♭ | Minor seventh | 10 | 2 |
| C to D | Major ninth | 14 | 2 |
| E♭ to G | Major third | 4 | 4 |
| E♭ to B♭ | Perfect fifth | 7 | 5 |
| E♭ to D | Major seventh | 11 | 1 |
| G to B♭ | Minor third | 3 | 3 |
| G to D | Perfect fifth | 7 | 5 |
| B♭ to D | Major third | 4 | 4 |
Where these facts come from
Every value on this page is derived from the note formula for a minor 9th applied to the root C, 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.