Gmaj9 is G, B, D, F# and A. It keeps every note of and adds the .
Gmaj9 can fill the same major-tonic role as , with both the major 7th and 9th.
Gmaj9 and both contain the 9th; only Gmaj9 contains .
Hear the 9th by comparing with Gmaj9.
One repeated root rises two frets to the 9th. Every other note stays the same.
Also written GM9, GΔ9, Gma9 or G major 9.
At the end of a jazz ii–V–I, Gmaj9 is the usual landing rather than a bare major seventh. The top voice that was the ii’s ninth and the V’s thirteenth steps down onto the ninth.
Listen for: The top voice holds through the ii and V, then falls a whole step to the ninth. On the maj7 it stays where it is, as the third.
A minor-key tune can cadence on Gmaj9 instead of the i, a softer landing a step below A. The ♭VII’s root doesn’t move: it becomes the ninth.
Listen for: The root of the ♭VII holds as the ninth while the other voices step. On the maj7 it has to fall a whole step to the root.
Heard in“Eight Miles High”“You Showed Me”
In which keys. Every note of Gmaj9 belongs to D major, E minor, G major and B minor.
Contains Gmaj9 and adds eleventh and thirteenth.
Contains Gmaj9 and adds sharp eleventh and thirteenth.
The common shapes and the derived voicings come from different places, and both are explained in how this site is built.
Shows each chord the way this style would voice it, and marks which of its alternatives belong to the idiom.