C9 4 STRING GROUPS NO OPEN STRINGS E-D-G-B [E] [A] [D] [G] [B] [E] * * * * * * * * E * * * G * * Bb D * * * * * * * * * G * E * Bb * * * * * * * * D * * * * Bb * G * * * * E * * D * * * * * * * * * A# * E * D G * * D-G-B-E [E] [A] [D] [G] [B] [E] * * * * * * * * E * * * * * * Bb D G * * * * * * * * G * E * * * * * * Bb * * * D * * * * Bb * G * * * * E * * * * * * * D * * * * A# * * * D G * E A-D-G-B [E] [A] [D] [G] [B] [E] * * * * * * * * * * * * * * * Bb * * * * * * * * * D G * E * * * * * * * * E * D * * * * Bb * G * * * * E * * * G * * * * * * * * A# * * * D * * * E-A-D-G [E] [A] [D] [G] [B] [E] * * * * * * * * E * * * G * * Bb * * * * * * * * * D G * * * Bb * * * * * * E * D * * * * Bb * * * * * * E * * D G * * * * * * * * * * * * * * * * A-G-B-E [E] [A] [D] [G] [B] [E] * * * * * * * * * * * * * * * Bb * G * * * * * * * D * * E * * * * * * Bb * E * D * * * * * * G * * * * E * * * G * * * D * * * * A# * * * * * * * The first tables are nothing more than an act of substituting a D, the ninth interval, for the C of the seventh chords in all cases of the four string inversion system of standard orchestral forms. Again I would bring your attention to the interesting and powerful equivocal character of these formations. A C9 contains the same notes as a Gmi6 and Emi7-5 among others. In fact, an Emi7-5 is the spelling of a C9 chord without the root. Dominant harmonies involving ninths and above afford the guitarist unique challenges and opportunities to express the beauties available to the instrument. A fully voiced ninth chord is virtually unplayable on the six string three octave instrument. But more importantly, it‘s not really either necessary or desirable. This is where we can exploit the power of selectivity and reductive thinking. There will be an intimidating number of tables representing possibilities, but you will find that if you start with a small vocabulary of #34sure" chords, you can build your own language of expression by integrating others as passing chords. Nine times out of ten, you will really only use about four different forms. By and large, the first tones to eliminate are the roots and fifths. The third and seventh intervals will serve as much more effective guiding tones. Roots and fifths are so frequently executed by other instruments in an ensemble that they often can clash with a keyboard. That‘s one of the reasons that jazz keyboardists have historically avoided working with guitarists. Additionally, the ninth chords in jazz charts often yearn for either augmented or diminished fifths in the arrangement, thus making it even more important to avoid a perfect fifth in many circumstances. Check the melody line to make a good decision for yourself.