E7b9 guitar chord
A close-position chord with the second voice from the top lowered an octave. Sits on four adjacent strings.
- Tap a note to hear it
- Arrows change position
- Fingers, notes or intervals
- Play the chord
About E7b9 — drop 2 voicings
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
Take the four notes stacked as close together as they go, then drop the second voice from the top an octave. The gap it opens is what makes the chord sound like a chord rather than a cluster.
It lands on four adjacent strings, which is why it is the workhorse voicing on guitar.
E7b9 has 13 of them, on the top four strings, the middle four strings and the bottom four strings, from open position up to the 13th — every inversion the chord has: E in the bass, G# in the bass, D in the bass and F in the bass. The one to learn first is the E shape at the nut, which is the easiest grip here.
5 of them sit on the top four strings, 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 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, 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.