Maj 6 and Maj 9 chords

[SubmarinerJim]

Can someone explain why a Maj 6 chord becomes a Maj 9 Chord when moved down the neck two frets? I can’t work it out and Brian has never explained why this is so
Regards
Jim

[Jean-Michel G]

Hi,
This is true only if you “imply” some chord tones.
Let’s take an example: if you play X0X222, you actually play (A,A,C#,F#) which is an A6 without the 5th (a full A6 is (A,C#,E,F#)).
Move that two frets down and you get X0X000 or (A,G,B,E) which is an A9 without 3rd.
A full A9 chord is (A,C#,E,G,B).

This particular example takes advantage of the open 5th string to keep the root; for other chords you may have to also “imply” the root, or assume that it is played by another instrument. But this is very frequent, particularly in jazz.

Hope this helps.

[Rob N]

As Jean-Michael G explained so well, Brian often uses triads and partial chords to free up his fingers to swap freely between rhythm chords and lead runs. Listening to music, our musical ear instantly identifies and remembers the Key of the tune so these partial 6th and 9th chords sound (and are) quite exotic and sophisticated against the key signature of the tune being played. Our mind can add the missing notes.

Whenever possible Brian even barres parts of simple three note triad chords to keep his pinky and ring fingers free so he can hold the chord and seamlessly add a quick
lead melody.

[SubmarinerJim]

Thanks to both of you, very much. Now it all makes sense, I was vaguely aware of implied chord tones, and our hearing filling in the gaps, but didn’t think to apply it to Maj6 Maj9 chords.
Thank you both very much for your excellent explanations.
Jim

[Mosswalker]

Yes, thank you for the question and the explanations. I was working on the essential triad lesson last night and was wondering the same thing. In that lesson he’s moving a Em down to a Dm, calling it a G6 and a G9. In my mind the G6 makes sense as E is the 6th of G. The G9, what I called a Dm, was confusing me.

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