The Ebadd9 chord contains E♭, G, B♭ and F. Also written E♭add9, it keeps the major third G and adds F without a seventh. Compare two root-bass layouts using formula 1–3–5–9.
Build the Ebadd9 chord from E♭ major plus F. The higher example is E♭3–G3–B♭3–F4; the lower example is E♭3–F3–G3–B♭3. The same four pitch classes are retained as F moves down an octave. The add9/add2 labels describe these examples; the written pitches specify their exact spacing.
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 Ebadd9 chord, Build the chord tones checks E♭, G, B♭ and F in any octave. Match this example also checks their registers. Correct note names in other octaves receive a spacing hint rather than a message that the chord tones themselves 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 E♭3 – G3 – B♭3 – F4. Then switch to E♭3 – F3 – G3 – B♭3. 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 | E♭add9 | E♭3–G3–B♭3–F4 | E♭3 |
| Added note lower (2nd layout) | E♭add2 | E♭3–F3–G3–B♭3 | E♭3 |
Here, the higher layout is labelled E♭add9; the inside-the-triad layout is shown with the E♭add2 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 |
|---|---|---|---|
| E♭add9 | E♭–G–B♭–F | Included | Not included |
| E♭9 | 1–3–5–♭7–9 | Included | Included |
| E♭sus2 | 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 E♭add9, 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 Ebadd9 chord diagrams locate keys and octaves without prescribed finger numbers. Both examples retain E♭ in the bass and G natural as the major third. Keep B♭ as the fifth when reading the labels; the diagram does not require a particular one-hand shape.
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 Ebadd9 chord keeps the third G and adds F to E♭ major. It does not include a seventh.
The Ebadd9 chord has no seventh. Eb9 includes D♭ in its full 1–3–5–♭7–9 formula. Compare the complete chord members before choosing how to arrange them.
No. The Ebadd9 chord includes G as its third. Ebsus2 contains E♭, F and B♭ without G. Moving F to another octave does not make those note collections identical.
Yes. Compare the Ebadd9 chord with F4 above the triad and F3 between E♭3 and G3. The lower example has an E♭add2 naming hint; written octave labels remain the guide to this layout.
Your four note names are correct but their octaves differ from the selected example. Build the chord tones accepts octave differences; Match this example also checks the displayed registers.
No. Both supplied examples retain E♭ lowest and change the placement of F. They illustrate two root-bass spacings without listing every inversion or assigning a required fingering.
First choose the four note names in E♭add9, 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.