D7#9 guitar chord
The standard grips this chord is usually shown with.
- Tap a note to hear it
- Arrows change position
- Fingers, notes or intervals
- Play the chord
About D7#9 — 1st inversion
D7#9 is D, F#, A, C and E# — D9 with the ninth raised a semitone.
It sounds gritty and contradictory. The minor third sounding over the major third; every guitarist knows it as the Hendrix chord.
D7#9 notes and formula
| D | F# | A | C | E# |
|---|---|---|---|---|
| 1 | 3 | 5 | ♭7 | ♯9 |
Altered dominant — dominant function with a blues third on top.
Also written D7(#9), D7+9 or D7♯9. The same chord either way; which spelling you meet depends on who wrote the chart.
How to play D7#9
D7#9 in 1st inversion puts F# in the bass instead of D, the 3rd 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 D7#9’s 9 common shapes does this: x-9-10-10-10-10.
Start with 0-0-0-10-7-8 — no barre and 3 open strings. None of the shapes for D7#9 uses an open string, so every one of them is movable; the lowest sits at the 4th fret. 4 of the 9 need a barre. Together they cover the neck from the 4th fret to the 13th.
| Frets | Where | Bass | Top | Hand |
|---|---|---|---|---|
| x5456x | 4th fret | D, root position | E# | all fretted |
| 0-0-0-10-7-8 | 7th fret | E | C | 3 open strings |
| x87778 | 7th fret | E#, 9th in the bass | C | barred |
| 10-9-10-10-x-x | 9th fret | D, root position | E# | barred |
| x-9-10-10-10-10 | 9th fret | F#, 1st inversion | D | barred |
| 10-12-10-11-10-13 | 10th fret | D, root position | E# | barred |
| 10-12-10-11-13-13 | 10th fret | D, root position | E# | all fretted |
| x-x-12-11-13-13 | 11th fret | D, root position | E# | all fretted |
| x-12-12-11-13-13 | 11th fret | A, 2nd inversion | E# | all fretted |
The same notes rebuilt from scratch give 3 shell, 12 drop 2, 8 drop 3, 13 rootless and 3 open string voicings, each on its own page.
Tensions. A shell of D7#9, root, third and seventh, leaves a string free, and the tones that belong over it are the #11 (G#), the b13 (Bb) and the 13 (B).
How to use D7#9
D7#9 is a dominant with its tension raised, so it still points at G — harder than a plain seventh does, because the altered tones sit a semitone from where they are going.
Voice by voice, D7#9 → G. 2 voices move by a semitone, and one note is common to both chords.
| In D7#9 | Moves | In G |
|---|---|---|
| D, the root | stays where it is | D, the fifth |
| F#, the major third | rises a semitone | G, the root |
| A, the fifth | falls a whole tone | G, the root |
| C, the flat seventh | falls a semitone | B, the major third |
| E#, the sharp ninth | rises a whole tone | G, the root |
What to play over D7#9
Every note of D7#9 is in D half-whole diminished.
Chords near D7#9
Change one note of D7#9 and you have Dm7 (drop the major third), Dm9 (the major third becomes a ninth), D7 (drop the minor third), D9 (the minor third becomes a ninth), D7b9 (the minor third becomes a flat ninth) or D/C (drop the minor third).
D7#9 is an altered chord — a dominant seventh with its fifth or ninth moved. Altered dominant chords on every root.
On D7#9’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.