Song Help Request C ma9

philrab66

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Hi all
I am learning a new song with chords I do not know. Normally I just play the song but without knowing the name of the chords (fingerpicking). However this time I want to know the chord names for future reference. For instance in these 2 bars it has Cma9 for chord but when I look up Cma9 nothing comes up with this voicing. Also as you can see from both bars they have completely different notes in.

If possible could somebody please explain what a Cma9 is structure wise so I can work this out. Obviously my theory is not up to much but I would like to learn.
Thanks in advance Phil.Cma9 jpeg.jpg
 
Cma9 is CEGBD (13579). Since you only have 4 strings, one of the notes has to be left out. Here, the 7th (B) is being left out. That's probably not typical as you lose a lot of flavor without the 7th, but here, it looks like they are wanting to emphasize the D note, so you probably get more of a suspended feel.
 
There are many websites that can demonstrate "chord theory"...this is one that I use: http://www.musictheory.net/lessons/40.

If you have a piano or a keyboard it's easier to visualize how the chords are formed...Maj:1,3,5 Minor 1,flat3,5 Dom7:1,3,5,flat7 Maj7:1,3,5,7 Maj9:1,3,5,7,9...etc...
(I think that's correct...?)
 
Cma9 is CEGBD (13579). Since you only have 4 strings, one of the notes has to be left out. Here, the 7th (B) is being left out. That's probably not typical as you lose a lot of flavor without the 7th, but here, it looks like they are wanting to emphasize the D note, so you probably get more of a suspended feel.

Thanks Jim makes a bit more sense now. If you where playing this piece just looking at the chords for instance how would you know which Cma9 you where playing from example 1 & 2. Not sure if I made sense there.
 
There are many websites that can demonstrate "chord theory"...this is one that I use: http://www.musictheory.net/lessons/40.

If you have a piano or a keyboard it's easier to visualize how the chords are formed...Maj:1,3,5 Minor 1,flat3,5 Dom7:1,3,5,flat7 Maj7:1,3,5,7 Maj9:1,3,5,7,9...etc...
(I think that's correct...?)

Thanks for that Sono. I am trying to get into the habit of forming chords instead of just fingering the notes. In my example there are 2 variations of the chord so this has messed my head up a bit. Nothing is easy.
 
Thanks Jim makes a bit more sense now. If you where playing this piece just looking at the chords for instance how would you know which Cma9 you where playing from example 1 & 2. Not sure if I made sense there.
Not sure I'm understanding the question. I would say the primary example here is the 0005 chord and the other 0205 which just swaps the C note on the 3rd string for a D. It ain't gonna make much difference where you play either one of even if you played both. Maybe over thinking it?
 
I know music theory all the way through orchestration, but in real life I just play a chord a couple of different ways and pick the one I think sounds best in the tune. I actually love the forced simplicity of the four stringed instrument.
 
Not sure I'm understanding the question. I would say the primary example here is the 0005 chord and the other 0205 which just swaps the C note on the 3rd string for a D. It ain't gonna make much difference where you play either one of even if you played both. Maybe over thinking it?

Sorry I will try again. What I was trying to say is why could I not hold the same chord shape to play both bars if they both where marked Cma9 so I could say to myself there is a Cma 9 coming up if that makes any sense. What I should have done is looked at the notes in the bars.
 
Note: www.musictheory.net doesn't get into anything beyond 7th chords, so it won't be that helpful for ninth chords and other more complex forms (though maybe their apps do). Up to that point, their presentation is both concise and lucid, and I second the general recommendation.

The Cma9 examples are confusing because, of the five components of the supposed major 9th chord, only three are played in the second example: the 3rd, 5th and 9th (= 2nd) and the first adds the root only in the latter part of the measure. Moreover, the difference between a C9 and a Cma9 (CM9) is that the former has a dominant (minor) 7th and the later has a major 7th—Bb versus B—, in fact, the "ma" refers not to the ninth interval but to the 7th interval. So it would only be musical context or what other instruments play that would identify this specifically as a major 9th chord rather than a common (dominant) ninth chord. The most complete chord in the examples is given by 0005 (5th, root, 3rd, 9th). Devoid of context, this chord is really Cadd9. But you can infer that this is a major rather than dominant 9th because the key is C, and the natural 7th of the tonic C chord is a major 7th. Generally, however, when the 7th is omitted in extended chords, the ear tends to "hear" a dominant 7th. (In fact, if the sample continued to the F chord, it might really be Cadd9 functioning as C9 instead).

The 5th is perhaps the most extraneous component in this chord (omitting the root yields something that sounds more like G6), so for a more explicit Cma9 you might want to play 4005 (M7 1 3 9) or 5202 (1 9 3 M7); the former is uninverted on reentrant ukes, the latter is uninverted on linear ukes, an important factor in your choice; try them and see.
 
Additional question from a really dumb guy. Why is it called a Major 9th chord in this instance? Is it context?
 
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