Map it slowly
Locate B, A on white keys and D♯, F♯, C♯ on black keys. Try each hand separately before playing together; choose a fingering that keeps the wrist relaxed, without stretching between notes.
Arpeggio · B9 · Piano
The B9 arpeggio is B – D♯ – F♯ – A – C♯ — chord tones 1 3 5 ♭7 9. B9 is a fuller V chord; the 9th sits on top of the dominant seventh; its sound is rich, bluesy. Below, every B, D♯, F♯, A, C♯ on the two-octave keyboard is marked, with the root in gold. Press play to hear a one-octave arpeggio, or tap any note.
Visualizer
Piano
Guitar · standard tuning
Play loops the arpeggio up and down one octave (switch Loop off for a single pass). Tap any marked note to hear it. “Show” switches or combines the fretboard and keyboard; “Sound” picks the instrument you hear. Audio is synthesized in the browser.
Your next 10 minutes
Locate B, A on white keys and D♯, F♯, C♯ on black keys. Try each hand separately before playing together; choose a fingering that keeps the wrist relaxed, without stretching between notes.
Play B – D♯ – F♯ – A – C♯ in quarter notes at 60 bpm. Repeat starting from D♯, wrapping back to B. Do not speed up until every attack is even.
Alternate D♯ and A above a sustained B. These are degree 3 and ♭7. End a four-bar phrase on either one instead of always returning to the root.
Listen for this: B9 has the colour “rich, bluesy”. Name the degrees as you play, so you can recognize the sound in another key rather than remembering only a shape.
Understand the sound
A ninth extends the dominant seventh; it does not replace the third or seventh. Start with those guide tones, then add the ninth above them.
Here the third is D♯, and degree ♭7 is A. Play B in the bass and compare these voices individually before combining them.
Try D♯ – F♯ – A – B as quarter notes, then repeat the first note and omit the last. The second phrase uses the same harmony with a different shape.
Separate the bass from the upper notes. If the low register sounds muddy, move the upper voices up an octave before adding more notes.
The black-key pitches in this collection are D♯, F♯, C♯. Use the groups of two and three black keys to orient yourself. Play B and D♯ with each hand separately before combining the hands.
Before moving on, close the diagram and name the notes: B · D♯ · F♯ · A · C♯. Then play a two-bar phrase from memory and leave two bars of silence.
On guitar
Reference
| Chord tone | Note | Interval from B |
|---|---|---|
| 1 | B | unison (0 semitones) |
| 3 | D♯ | major 3rd (4 semitones) |
| 5 | F♯ | perfect 5th (7 semitones) |
| ♭7 | A | minor 7th (10 semitones) |
| 9 | C♯ | major 9th (14 semitones) |
Goes with: B Mixolydian (B C♯ D♯ E F♯ G♯ A). Voicings: see the four-note chord voicings in the chord library.
Take it to the bandstand.Practice Radio streams endless changes to play the B9 arpeggio over through all twelve keys, with the chord and scale shown live — plus ear-training and call & response modes.
▶ Open Practice RadioCommon questions
B – D♯ – F♯ – A – C♯. As chord tones: 1 3 5 ♭7 9. Played one after another instead of together, that is the arpeggio.
B9 is a fuller V chord; the 9th sits on top of the dominant seventh. Its character is rich, bluesy.
B Mixolydian (B C♯ D♯ E F♯ G♯ A) — the arpeggio is the skeleton of that scale, so practise them together.
Play B – D♯ – F♯ – A – C♯ ascending from B, then descend; then start from each chord tone in turn (inversions) so your hand knows the shape from any note.
Keep going
Same arpeggio on guitar · Dominant 9th hub · chord-scale theory.
Other arpeggios from B