E7b9 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 E7b9 — 3rd inversion
E7b9 is E, G#, B, D and F — E9 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.
E7b9 notes and formula
| E | G# | B | D | F |
|---|---|---|---|---|
| 1 | 3 | 5 | ♭7 | ♭9 |
Altered dominant — it points at a minor chord.
Also written E7(b9), E7-9 or E7♭9. The same chord either way; which spelling you meet depends on who wrote the chart.
How to play E7b9
E7b9 in 3rd inversion puts D in the bass instead of E, 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 E7b9’s 8 common shapes does this: x-x-12-13-12-13.
Start with 020101 — no barre and 3 open strings. 2 of the 8 shapes here sit in open position. 2 of the 8 need a barre. Together they cover the neck from the 1st fret to the 15th.
| Frets | Where | Bass | Top | Hand |
|---|---|---|---|---|
| 020101 | open position | E, root position | F | 3 open strings |
| xx2131 | 1st fret | E, root position | F | all fretted |
| 050464 | open position | E, root position | G# | 2 open strings |
| x76767 | 6th fret | E, root position | B | barred |
| 12-11-12-10-x-x | 10th fret | E, root position | F | all fretted |
| x-x-12-13-12-13 | 12th fret | D, 3rd inversion | F | all fretted |
| 12-14-12-13-12-13 | 12th fret | E, root position | F | barred |
| x-x-14-13-15-13 | 13th fret | E, root position | F | all fretted |
The same notes rebuilt from scratch give 6 shell, 13 drop 2, 9 drop 3, 15 rootless and 4 open string voicings, each on its own page.
Tensions. A shell of E7b9, root, third and seventh, leaves a string free, and the tones that belong over it are the #11 (A#), the b13 (C) and the 13 (C#).
How to use E7b9
E7b9 is a dominant with its tension raised, so it still points at A — harder than a plain seventh does, because the altered tones sit a semitone from where they are going.
Voice by voice, E7b9 → Am. 3 voices move by a semitone, and one note is common to both chords.
| In E7b9 | Moves | In Am |
|---|---|---|
| E, the root | stays where it is | E, the fifth |
| G#, the major third | rises a semitone | A, the root |
| B, the fifth | rises a semitone | C, the minor third |
| D, the flat seventh | falls a whole tone | C, the minor third |
| F, the flat ninth | falls a semitone | E, the fifth |
What to play over E7b9
Every note of E7b9 is in E half-whole diminished.
Chords near E7b9
Change one note of E7b9 and you have E7 (drop the flat ninth), Ealt (the fifth becomes a sharp fifth), E9 (the flat ninth becomes a ninth), E7#9 (the flat ninth becomes a minor third), E/F (drop the flat seventh) or E/D (drop the flat ninth).
E7b9 is an altered chord — a dominant seventh with its fifth or ninth moved. Altered dominant chords on every root.
On E7b9’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.