The Emadd9 chord contains E, G, B and F♯, with formula 1–♭3–5–9. Also written Em(add9), it keeps the minor third G and adds F♯ without a seventh. Compare two root-bass layouts and two practice tasks.
Build the Emadd9 chord from E minor plus F♯. The higher example uses E3–G3–B3–F♯4; the lower example uses E3–F♯3–G3–B3. F♯ moves down an octave while all four pitch classes remain. The add9/add2 hints describe these examples, not a universal spacing requirement.
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 Emadd9 chord, Build the chord tones accepts 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, separating a different voicing from an incorrect note.
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 – G3 – B3 – F♯4. Then switch to E3 – F♯3 – G3 – 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 | Em(add9) | E3–G3–B3–F♯4 | E3 |
| Added note lower (2nd layout) | Em(add2) | E3–F♯3–G3–B3 | E3 |
Here, the higher layout is labelled Em(add9); the inside-the-triad layout is shown with the Em(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 |
|---|---|---|---|
| Em(add9) | E–G–B–F♯ | Included | Not included |
| Em9 | 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 Em(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 Emadd9 chord diagrams show pitches and octaves without finger numbers. Both layouts keep E lowest and G natural as the minor third. G♯ would change the quality rather than only the spacing; the diagram is not a prescribed one-hand stretch.
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 Emadd9 chord keeps G as its minor third and adds F♯ to E minor without including a seventh.
The Emadd9 chord has no seventh. Em9 includes D in its full 1–♭3–5–♭7–9 formula. Compare the complete note collections before arranging them.
No. The Emadd9 chord includes G. Esus2 contains E, F♯ and B without a third. Moving F♯ to another octave does not remove G from the four-note collection.
The Emadd9 chord uses G natural while Eadd9 uses G♯. Both include E, B and F♯, so the third identifies the minor or major added-note quality.
Your four note names are correct but their octaves differ from the selected example. The note-building task accepts octave differences; the matching task checks exact registers too.
No. Both examples retain E in the bass and compare the placement of F♯. The lower example has an Em(add2) notation hint; other voicings remain possible and no finger numbers are supplied.
First choose the four note names in Em(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.