The Eadd9 chord contains E, G♯, B and F♯, with formula 1–3–5–9. It retains the third G♯ and adds F♯ without a seventh. Compare two root-bass layouts, then practise note names and exact pitches.
Build the Eadd9 chord from E major and F♯. The higher example is E3–G♯3–B3–F♯4; the lower example is E3–F♯3–G♯3–B3. F♯ moves an octave while the four pitch classes stay the same. The add9/add2 hint describes these examples; it does not prescribe a single spacing for all music.
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 Eadd9 chord, Build the chord tones checks E, G♯, B and F♯ in any octave. Match this example asks for the specific four pitches shown. Correct note names in different octaves receive a spacing hint instead of a message that the chord tones are wrong.
Use E, G♯, B, F♯. The formula is 1–3–5–9. Keep the G♯ 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 E3 – G♯3 – B3 – F♯4. Then switch to E3 – F♯3 – G♯3 – B3. The F♯ moves down one octave while the other three notes stay in place.
Both examples keep E 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 | Eadd9 | E3–G♯3–B3–F♯4 | E3 |
| Added note lower (2nd layout) | Eadd2 | E3–F♯3–G♯3–B3 | E3 |
Here, the higher layout is labelled Eadd9; the inside-the-triad layout is shown with the Eadd2 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 |
|---|---|---|---|
| Eadd9 | E–G♯–B–F♯ | Included | Not included |
| E9 | 1–3–5–♭7–9 | Included | Included |
| Esus2 | 1–2–5 | Not included | Not included |
Read E, G♯, B, F♯ as four chord members. The F♯ 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 Eadd9, 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 Eadd9 chord diagrams show registers and sounding keys, without finger numbers or a prescribed stretch. Both examples keep E lowest. Keep G♯ as the major third and F♯ as the added note; changing an accidental changes the pitch-class collection rather than only its spacing.
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.
E, G♯, B and F♯. The Eadd9 chord keeps the third G♯ and adds F♯ to E major, without including a seventh.
The Eadd9 chord has no seventh. E9 includes D natural in its full 1–3–5–♭7–9 collection. Adding a ninth to a major triad and adding it to a dominant seventh produce different chord members.
No. The Eadd9 chord includes G♯ as its third. Esus2 contains E, F♯ and B without G♯. An octave change for F♯ does not make those note sets identical.
Yes. Compare the Eadd9 chord with F♯4 above the triad and F♯3 between E3 and G♯3. The lower example has an Eadd2 naming hint; the written pitches remain the guide to this particular layout.
The pitch classes are correct but their octaves differ from the chosen example. The note-building task accepts octave differences; the matching task checks registers as well as note names.
No. These two root-bass examples illustrate higher and lower placement of F♯. They do not list every voicing or inversion, and they do not assign fingers or a required hand allocation.
First choose the four note names in Eadd9, 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 E, G♯, B, F♯, in any octave.
Chord tones: E–G♯–B–F♯ · Formula: 1, 3, 5, 9
Dots mark the notes to play. C4 is middle C. Numbers identify octaves, not fingers.