A#min(maj9)

Construction

Built from these intervals: 1-b3-5-7-9.

The b3 and 7 create the same dramatic dissonance found in min(maj7), pulling in opposite directions. The 9 sits above, adding space and air to the tension. min(maj9) is min(maj7) with an added 9. The ninth does not resolve the b3-7 clash; it softens its edges.

Harmonic Function

In Roman numeral analysis (uppercase = major, lowercase = minor):

• im(maj9) in minor -- extended tonic from melodic minor (a minor scale with raised 6th and 7th degrees), more lush than min(maj7) alone
• Melodic minor color -- all five tones belong to the melodic minor scale, built on its first degree, making this chord a dense vertical statement of that sound
• Ballad chord -- the 9 makes the min(maj7) tension breathable, suited to slow tempos where each interval can register

The chord remains dramatic but becomes more approachable with the added space the 9 provides.

Character

As a member of the minor extended-chord family, min(maj9) brings lush depth. The 9 opens up the min(maj7) foundation, letting the b3-7 dissonance glow rather than sting. Compare to min9: min9 has b7 where min(maj9) has 7, and that single swap trades warmth and ease for cinematic intensity. Compare to min(maj7): both share the defining b3-7 tension, but min(maj9) adds the 9, which distributes the listener's attention and creates room to breathe within the drama. This is the sound of sophisticated jazz ballads in minor -- tension that lingers rather than bites.

Related Sounds

These chords share the minor foundation but differ in extensions and upper intervals:

• min(maj7) (1-b3-5-7) -- remove the 9, more stark and directly tense
• min9 (1-b3-5-b7-9) -- b7 instead of 7, much more relaxed and widely used
• min6/9 (1-b3-5-6-9) -- 6 instead of 7, Dorian stability with less tension
• min11 (1-b3-5-b7-9-11) -- extends min7 rather than min(maj7), a different harmonic world
• Implies melodic minor, built on its first degree

Voice Leading

Voice leading tracks how individual notes move from one chord to the next. The 9 provides an additional common-tone pathway while the 7 drives chromatic motion, giving this chord versatile connections.

• im(maj9) to i9 to i6/9: The 7 steps down to b7, then to 6, while root, b3, 5, and 9 all hold. The line cliche with the 9 sustained above -- a chromatic descent with a pedal point.
• im(maj9) to IVmaj7: The 9 holds as the 13 of IV. The 7 becomes the #11 of IV -- a Lydian color. The b3 becomes the 7 of IVmaj7. Rich re-voicing with multiple common tones.
• im(maj9) to V7: The 7 holds as the 3 of V7. The 9 holds as the 5 of V7. Two common tones anchor the move to dominant while the root steps down or holds, and the b3 moves down a half step to the 5 of V.

These movements apply in any key -- the intervals are the same regardless of root.

Practice Seeds

Softening effect. Compare min(maj7) to min(maj9) on the same root. Hear how the 9 opens the sound -- the drama becomes more livable, the tension more musical.

Nearest-neighbor test. Play min(maj9), then min9. The only change is 7 vs. b7, but the mood shifts from suspense to ease. Train your ear on this single-interval distinction.

Chromatic line with ninth. Play im(maj9), then i9, then i6/9. Listen for the single note descending (7 to b7 to 6) while the other tones stay put. This builds independence between moving and static voices.

Melodic minor expansion. Play min(maj9), then the melodic minor scale from the same root. Five of seven scale tones are present -- hear the scale inside the chord.