9th integration — color stays on top, only the skeleton cycles

The week's finish line. Cycle Maj9·9·m9 over one root. The amazing part: the 9th (D) stays on the 2nd string, on top, the whole time. Only the skeleton below changes:

• 3rd string = the 7th switch. Fret 4 (7, Maj9) ↔ fret 3 (b7, 9·m9).
• 4th string = the 3rd switch. Fret 2 (3, Maj9·9) ↔ fret 1 (b3, m9).

So:

• Cmaj9 = 3rd string 4 (7) · 4th string 2 (3)
• C9 = 3rd string 3 (b7) · 4th string 2 (3)
• Cm9 = 3rd string 3 (b7) · 4th string 1 (b3)

The color (9th) stays on top; only the skeleton (3rd & 7th) switches with your fingers — the two switches from month 1 are alive in the 9-chords too. Add Week 5's top-note feel, and next week (7) you'll connect these upper notes into a melody. In a single week you've come to flip between maj9, 9, and m9 with a two-finger switch. Why city-pop comping always sounded so polished — that secret now sits in your hands.

Cmaj9 — 3rd string 7 (fret 4), 4th string 3 (fret 2), 2nd string 9 (yellow).

C9 — only the 3rd string to b7 (fret 3). The 9th stays on top.

Cm9 — the 4th string also to b3 (fret 1). The 9th still on top.

Example 1 — 7-switch under a constant 9th. On the 3rd string, go 7 (4) ↔ b7 (3), while the 2nd-string 9th (D) stays. Feel the color fixed on top, only the skeleton moving.

▶ BPM 74. 3rd string 7 → 9 (color) → b7 → 9 (color). The 9th stays put; only the 7th below moves a half step. Repeat 4×.

Example 2 — Maj9 → 9 → m9 cycle comp. The 9th always on top; only the 3rd & 4th strings switch.

▶ BPM 80, repeat 4×. Cmaj9 → C9 → Cm9. The 9th (yellow) stays on top; only the 3rd & 4th-string skeleton changes. Hear all three shimmer yet differ in character.

0–10 min · Warm-up Play Cmaj9 → C9 → Cm9 in order, four beats each. Root and 9th (2nd string) fixed, only the 3rd & 4th strings moving. Check the 9th keeps ringing cleanly.

10–20 min · Brain training (today's target = constant 9th + skeleton switch) "The 9th stays, the 7th 4↔3, the 3rd 2↔1." On "m9!", grab the 3rd & 4th strings instantly while holding the 9th. Confirm with Example 1.

20–40 min · Real comping (Example 2 cycle / 76–86 BPM) Repeat Example 2's three-9-chord cycle at BPM 80 4×. Then move the root for other keys. Over a soul/city-pop backing, enjoy the shimmering progression.

40–50 min · Record & reflect + week recap (recommended) Record 30 seconds of the three-9-chord cycle. Check: does the 9th stay alive, and does another string die during the skeleton switch? Then sum up: "How much did one 9th change the sound?"

Done when: over one root, you can cycle Maj9 → 9 → m9 using only the 3rd & 4th strings while holding the 9th. (Week 6 complete!)

• Re-finding the 9th every time. The 9th doesn't move. Only the skeleton (3rd & 7th) switches. Keep the 9th finger planted.
• The 9th dies during the switch. If the upper 9th lifts while you move the lower fingers, the color vanishes. Keep the 9th pressed.
• Memorizing the three 9-chords separately. They're a combination of two switches — the same month-1 principle.
• Emphasizing the 9th while neglecting the skeleton. The 3rd & 7th set the character. A blurry skeleton loses the maj/dom/m distinction.