D9b5 guitar chord
An open string left ringing against a fretted grip. Because it costs no finger, it sounds a note the closed shape has none left for -- a tension on top, or a pedal root underneath. Either a familiar grip with open strings added, or a shape so sparse the open strings carry the chord. These belong to their key rather than to a shape, so D, A, G and E have many and Eb a handful.
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- Fingers, notes or intervals
- Play the chord
About D9b5 — open string voicings
D9b5 is D, F#, Ab, C and E — D7b5 with the natural ninth added over it.
It sounds sleek and tense. Played as a tritone substitution the ♭5 is the root of the dominant it replaced.
D9b5 notes and formula
| D | F# | Ab | C | E |
|---|---|---|---|---|
| 1 | 3 | ♭5 | ♭7 | 9 |
Altered dominant — commonly the tritone substitute.
Also written D9(b5), D9-5 or D9♭5. The same chord either way; which spelling you meet depends on who wrote the chart.
How to play D9b5
An open string left ringing against a fretted grip. It costs no finger, so it can sound a note the closed shape has none left for: a tension on top, or a pedal root underneath.
These belong to their key rather than to a shape: they cannot be moved up the neck. D, A, G and E have many; E♭ has a handful.
D9b5 has 1 of them, only on strings 6-5-4-3-2-1, all of them at the 4th fret — all in one inversion, so the bass note never moves. The one to learn first is the E shape at the 4th fret.
Start with x56570 — no barre and 1 open string. None of the shapes for D9b5 uses an open string, so every one of them is movable; the lowest sits at the 4th fret. 2 of the 5 need a barre. Together they cover the neck from the 4th fret to the 13th.
| Frets | Where | Bass | Top | Hand |
|---|---|---|---|---|
| x54554 | 4th fret | D, root position | Ab | barred |
| x56570 | 5th fret | D, root position | F# | 1 open string |
| 10-9-10-9-9-10 | 9th fret | D, root position | D | barred |
| 10-11-10-11-x-12 | 10th fret | D, root position | E | all fretted |
| x-11-12-11-13-12 | 11th fret | Ab, 2nd inversion | E | all fretted |
The same notes rebuilt from scratch give 8 shell and 13 rootless voicings, each on its own page.
Tensions. A shell of D9b5, root, third and seventh, leaves a string free, and the tones that belong over it are the b13 (Bb) and the 13 (B).
How to use D9b5
D9b5 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, D9b5 → G. 3 voices move by a semitone, and one note is common to both chords.
| In D9b5 | Moves | In G |
|---|---|---|
| D, the root | stays where it is | D, the fifth |
| F#, the major third | rises a semitone | G, the root |
| Ab, the flat fifth | falls a semitone | G, the root |
| C, the flat seventh | falls a semitone | B, the major third |
| E, the ninth | falls a whole tone | D, the fifth |
What to play over D9b5
Every note of D9b5 is in D whole tone and D lydian dominant.
Chords near D9b5
Change one note of D9b5 and you have D7b5 (drop the ninth), D9 (the flat fifth becomes a fifth), Daug9 (the flat fifth becomes a sharp fifth) or D9#11 (add the fifth).
D9b5 is an altered chord — a dominant seventh with its fifth or ninth moved. Altered dominant chords on every root.
On D9b5’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.