C#7b9 guitar chord
The third voice from the top lowered an octave. The dropped voice becomes the bass, which is why a string is skipped.
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About C#7b9 — drop 3 voicings
C#7b9 is C#, E#, G#, B and D — C#9 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.
C#7b9 notes and formula
| C# | E# | G# | B | D |
|---|---|---|---|---|
| 1 | 3 | 5 | ♭7 | ♭9 |
Altered dominant — it points at a minor chord.
Also written C#7(b9), C#7-9 or C#7♭9. The same chord either way; which spelling you meet depends on who wrote the chart.
How to play C#7b9
The same operation one voice further down: the third voice from the top falls an octave and becomes the bass.
That leaves a bigger hole under the top three notes, so a string gets skipped: the muted string in the middle is the shape, not a mistake.
C#7b9 has 8 of them, on strings 5-3-2-1 and strings 6-4-3-2, from open position up to the 10th — every inversion the chord has: C# in the bass, E# in the bass, B in the bass and D in the bass. The one to learn first is the C# shape at the nut.
4 of them sit on strings 5-3-2-1, so you can run the inversions up one set without changing strings — which is the whole reason to learn them as a family rather than as separate grips.
Start with x40467 — no barre and 1 open string. 1 of the 6 shapes here sits in open position. 2 of the 6 need a barre. Together they cover the neck from the 3rd fret to the 12th.
| Frets | Where | Bass | Top | Hand |
|---|---|---|---|---|
| x43434 | 3rd fret | C#, root position | G# | barred |
| x40467 | open position | C#, root position | B | 1 open string |
| 98970x | 7th fret | C#, root position | D | 1 open string |
| x-x-9-10-9-10 | 9th fret | B, 3rd inversion | D | all fretted |
| 9-11-9-10-9-10 | 9th fret | C#, root position | D | barred |
| x-x-11-10-12-10 | 10th fret | C#, root position | D | all fretted |
The same notes rebuilt from scratch give 3 shell, 12 drop 2, 15 rootless and 3 open string voicings, each on its own page.
Tensions. A shell of C#7b9, root, third and seventh, leaves a string free, and the tones that belong over it are the #11 (F##), the b13 (A) and the 13 (A#).
How to use C#7b9
C#7b9 is a dominant with its tension raised, so it still points at F# — harder than a plain seventh does, because the altered tones sit a semitone from where they are going.
Voice by voice, C#7b9 → F#m. 3 voices move by a semitone, and one note is common to both chords.
| In C#7b9 | Moves | In F#m |
|---|---|---|
| C#, the root | stays where it is | C#, the fifth |
| E#, the major third | rises a semitone | F#, the root |
| G#, the fifth | rises a semitone | A, the minor third |
| B, the flat seventh | falls a whole tone | A, the minor third |
| D, the flat ninth | falls a semitone | C#, the fifth |
What to play over C#7b9
Every note of C#7b9 is in C# half-whole diminished.
Chords near C#7b9
Change one note of C#7b9 and you have C#7 (drop the flat ninth), C#alt (the fifth becomes a sharp fifth), C#9 (the flat ninth becomes a ninth) or C#7#9 (the flat ninth becomes a minor third).
C#7b9 is an altered chord — a dominant seventh with its fifth or ninth moved. Altered dominant chords on every root.
On C#7b9’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.