On the Dominant Ninth Chord

 I have published an updated index to this blog and essays about scale degree ^6 and the dominant ninth chord on the Texas ScholarWorks plat...

A one-paragraph historical narrative:  The major dominant-ninth chord ("V9" or just "dominant ninth") gradually became a...

   In the entry for 28 October 2018, after explaining that the blog concerns only the major dominant-ninth chord--such as C: V9, G9, or A9, ...

Last time I discussed symmetry and introduced the 7  (out of 38)  7-note sets/scales/chords that have it, besides the chromatic set and the ...

In an earlier "Curiosities" post ( link ), I discussed the symmetry of the major scale: starting on scale degree ^2, the inversion...

My last post added to the series on traditional harmony textbooks ( link to first post ) discussion of a modern harmony text from the 1950s....

 I have added Vincent Persichetti's classic  Twentieth Century Harmony: Creative Aspects and Practice  to this series of posts, first, b...

Ratner Chapter 11 of  Harmony: Structure and Style  is on dominant sevenths and the tonic 6/4.  Chapter 12  is titled "VII7 and V9--The...

Harder/Steinke In  Harmonic Materials in Tonal Music,  Pt. II, 6th ed., the three extended chords are grouped together, and the model of sup...

Forte (none);  Laitz (none) Of the ten textbooks I browsed during a recent visit to a college library, two don't mention ninth chords. T...

 Recently I was able to visit a university music library, where I looked at the presentation of ninth chords in the following textbooks. The...