I have placed a file called "Index to V9 blog and essays" on my Google Drive. The document's title is "On the Dominant Ninth Chord: (1) List of posts to the blog; (2) List of essays published on the Texas ScholarWorks platform; (3) Repertoire list for the essays." Link.
Here also is the complete text of an administrative post I put up on 11 February 2019:
[Blog introduction] In the introductory post to this blog, I wrote that in studying cadence figures in the upper tetrachord of the scale, "I noticed the variety of treatments of scale degree ^6 as the ninth of a dominant ninth chord. This blog is intended to document some of those, especially in the essential 19th century European repertoires of the musical stage and music for dance." Link to the introduction.
[Types of the dominant ninth] A subsequent post looked more closely at the different melodic and harmonic treatments of the dominant ninth: link to "On seven types of the dominant ninth."
[Gallery] I also announced publication of an essay, Dominant Ninth Harmonies in the 19th Century: link to the post. Link to the essay on Texas ScholarWorks. This is intended as a gallery of simple (clear) examples from the repertoire.
Originally I said the blog would be limited to the major dominant ninth chord. I am focused now on music in the first quarter of the 20th century and, not surprisingly for the period, am finding the forms with lowered or raised fifth more often. That being the case, I will be including those forms occasionally if their presentations are of interest, even while continuing primarily to document the unaltered major dominant ninth chord. Cases in point are two of the songs by Marion Bauer discussed in recent posts: V9#5 in "Only of Thee and Me" (link to Part 2) and V9b5 in "Gold of the Day and Night" (link to Part 4).
The four ninth chord types are shown under (a) below. Under (b) I have repeated them with a traditional altered form (without root; for the major and minor dominant ninths) or a common voicing (for the raised or lowered fifth).
