The standard grips this chord is usually shown with.
Ab7b9 is Ab, C, Eb, Gb and A — Ab9 with the ninth lowered a semitone.
It sounds dark and urgent. The flat ninth comes from the harmonic minor, so this is the V of a minor key rather than a major one.

| Ab | C | Eb | Gb | A |
|---|---|---|---|---|
| 1 | 3 | 5 | ♭7 | ♭9 |
Altered dominant — it points at a minor chord.
Also written Ab7(b9), Ab7-9 or Ab7♭9. The same chord either way; which spelling you meet depends on who wrote the chart.
Ab7b9 in 3rd inversion puts Gb in the bass instead of Ab, the 7th of the chord. The notes are the same; what changes is what the bass line does, which is most of why you would reach for it — it lets the lowest voice move by step where the root would have jumped.
One of Ab7b9’s 6 common shapes does this: xx4545.
Start with 4342xx — no barre and down at the nut. 1 of the 6 shapes here sits in open position. 3 of the 6 need a barre. Together they cover the neck from the 1st fret to the 11th.
| Frets | Where | Bass | Top | Hand |
|---|---|---|---|---|
| x01112 | open position | Bbb, 9th in the bass | Gb | barred |
| 4342xx | 2nd fret | Ab, root position | A | all fretted |
| xx4545 | 4th fret | Gb, 3rd inversion | A | all fretted |
| 464545 | 4th fret | Ab, root position | A | barred |
| xx6575 | 5th fret | Ab, root position | A | all fretted |
| x-11-10-11-10-11 | 10th fret | Ab, root position | Eb | barred |
The same notes rebuilt from scratch give 3 shell, 12 drop 2, 9 drop 3, 13 rootless and 4 open string voicings, each on its own page.
Tensions. A shell of Ab7b9, root, third and seventh, leaves a string free, and the tones that belong over it are the #11 (D), the b13 (Fb) and the 13 (F).
Ab7b9 is a dominant with its tension raised, so it still points at Db — harder than a plain seventh does, because the altered tones sit a semitone from where they are going.
Every note of Ab7b9 is in Ab half-whole diminished.
Change one note of Ab7b9 and you have Ab7 (drop the flat ninth), Abalt (the fifth becomes a sharp fifth), Ab9 (the flat ninth becomes a ninth) or Ab7#9 (the flat ninth becomes a minor third).
Ab7b9 is an altered chord — a dominant seventh with its fifth or ninth moved. Altered dominant chords on every root.
On Ab7b9’s sound and use this page follows Mark Levine, The Jazz Theory Book (Sher Music, 1995). The shapes and the derived voicings come from different places, and both are explained in where the chords and the theory come from.
Shows each chord the way this style would voice it, and marks which of its alternatives belong to the idiom.