Right now, I want to explain how the sound of the V7b9 chord traditionally is expressed and how I use the melodic minor scale to express that sound. To help clarify your next-level keyboard vision, sign up to receive “Essential Skills for the Worship Keyboard Artist.When I was studying, it took me quite a while to really comprehend the V7b9 chord, its use and its relationship to the diminished chord. I want to help you achieve your keyboard playing goals. Watch the video for another way to work the flat-9 into a dominant sus4 chord.Ĭombine these with the dominant-13 chord trick, and you have three great techniques for creating a gospel chord sound. ![]() With the root covered by the left hand, you have the complete chord. ![]() Instead of playing all five notes indicated by a dominant-7 (flat 9) chord, try this easy trick: start with the 1-3-5-7 and simply raise the root one-half step, creating the flat-9. For example, you could use an E7(b9) to lead toward C major’s 6-chord, A minor. The video below also demonstrates how you can create flat-9 dominant chords that set up chords other than the 1-chord as home (secondary dominants). A G7(b9) creates three point of tension that resolve with a C chord: the B resolves to C, the F resolves to E, and the the flat-9 in the G chord, A-flat, resolves down to the G. In the key of C, the dominant chord is the 5-chord of the key, G. The notes of dominant chords create tension that resolves with the next chord, giving a sense of arrival, or home. Dominant chords are used to make other chords sound like home, even temporarily. ![]() The flat-9 chord typically belongs in the dominant chord category. In this post, we’ll look at a simple way to approach this chord and how you can change a chart to work it in. This gospel chord can add a lot of flavor to your piano progressions without being complicated. One example is the flat-9 dominant chord. Some chords look a lot scarier than they really are.
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