The Badd9 chord contains B, D♯, F♯ and C♯, with formula 1–3–5–9. It retains the major third D♯ and adds C♯ without a seventh. Compare two root-bass layouts and the two practice tasks.
Build the Badd9 chord from B major plus C♯. The higher example is B3–D♯4–F♯4–C♯5; the lower example is B3–C♯4–D♯4–F♯4. C♯ moves down an octave while the four pitch classes stay the same. The add9/add2 labels describe these examples rather than prescribing one spacing for every score.
The examples below are complete four-note references. They do not list every omission a performer might make.
Two explicitly authored root-bass spacing examples; this is not a claim that added-note chords cannot be inverted.
For the Badd9 chord, Build the chord tones accepts B, D♯, F♯ and C♯ in any octave. Match this example also checks the displayed registers. Correct note names in different octaves receive a spacing hint, distinguishing a different voicing from an incorrect chord tone.
Use B, D♯, F♯, C♯. The formula is 1–3–5–9. Keep the D♯ third: removing it changes the note collection to a suspended shape.
The list above names the chord members. For a specific register, read the octave numbers on the selected example below.
Start with B3 – D♯4 – F♯4 – C♯5. Then switch to B3 – C♯4 – D♯4 – F♯4. The C♯ moves down one octave while the other three notes stay in place.
Both examples keep B as the lowest note. This comparison changes spacing, not the bass. It is a pair of reference examples, not a complete inversion catalogue.
| Example | Notation hint | Notes, low to high | Bass |
|---|---|---|---|
| Added note higher (9th layout), current selection | Badd9 | B3–D♯4–F♯4–C♯5 | B3 |
| Added note lower (2nd layout) | Badd2 | B3–C♯4–D♯4–F♯4 | B3 |
Here, the higher layout is labelled Badd9; the inside-the-triad layout is shown with the Badd2 notation hint. This follows the textbook illustration, not a claim that every player uses the labels identically.
Musicca also lists add2 as an alternative add9 label. For an exact arrangement, use the written pitches or score. For a note-identification exercise, separate the chord members from their octaves.
This page's complete added-note examples include the third and no seventh. A ninth-chord formula includes a seventh; a sus2 collection omits the third. Compare the note lists, not just the number 9 in a symbol.
| Symbol | Notes or formula | Third | Seventh |
|---|---|---|---|
| Badd9 | B–D♯–F♯–C♯ | Included | Not included |
| B9 | 1–3–5–♭7–9 | Included | Included |
| Bsus2 | 1–2–5 | Not included | Not included |
Read B, D♯, F♯, C♯ as four chord members. The C♯ is the added member; it is not a finger number or a new key signature.
Octave numbers such as C4 locate a register. They are separate from scale degrees and finger numbers.
First choose the four note names in Badd9, in any octave. Next select Match this example and reproduce the specific notes displayed. Correct chord tones in different octaves should receive a spacing hint, not a message that the chord itself is wrong.
These browser exercises check your selection on this page, not a performance on an acoustic piano. Fingerings are not supplied; the diagrams are not a prescribed one-hand stretch.
The reference brings together the formula, both keyboard layouts and their octave labels. Use it beside your keyboard when comparing the two examples.
The Badd9 chord diagrams show pitches and registers without finger numbers or a required one-hand stretch. Both examples keep B lowest. D♯ remains the major third; replacing it with D natural changes chord quality rather than just the placement of the added note.
Read left- and right-hand finger numbersOpen Music Theory / VIVA Open Publishing
Supports: Added-note symbols do not imply a seventh; Cadd9 and Cadd2 illustrate different placements of D.
Scope: Theory and naming reference only. The transposed keyboard layouts on this page are PianoGrid examples; no fingering is assigned.
PianoChord.org
Supports: Major and minor add9/add2 construction and naming.
Scope: Theory and naming reference only. The transposed keyboard layouts on this page are PianoGrid examples; no fingering is assigned.
B, D♯, F♯ and C♯. The Badd9 chord adds a ninth to B major while keeping the third D♯. No seventh is included.
The Badd9 chord has no seventh. B9 includes A natural in its full 1–3–5–♭7–9 formula. Check the chord members before choosing an arrangement.
No. The Badd9 chord includes D♯ as its third. Bsus2 uses B, C♯ and F♯ without D♯. Moving C♯ to another octave does not remove the third from the four-note collection.
The Badd9 chord can use different spacings. Compare C♯5 above the triad with C♯4 inside it. The lower example has a Badd2 notation hint; the written pitches specify this arrangement.
Your chord tones are correct but their octaves differ from the selected example. Build the chord tones accepts octave differences; Match this example also asks for the displayed registers.
No. These two root-bass examples illustrate the placement of C♯. They do not list every voicing or inversion, and they do not prescribe fingering or a hand allocation.
First choose the four note names in Badd9, in any octave. Next select Match this example and reproduce the specific notes displayed. Correct chord tones in different octaves should receive a spacing hint, not a message that the chord itself is wrong.
These browser exercises check your selection on this page, not a performance on an acoustic piano. Fingerings are not supplied; the diagrams are not a prescribed one-hand stretch.
Choose B, D♯, F♯, C♯, in any octave.
Chord tones: B–D♯–F♯–C♯ · Formula: 1, 3, 5, 9
Dots mark the notes to play. C4 is middle C. Numbers identify octaves, not fingers.