E7#9 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.
- Tap a note to hear it
- Arrows change position
- Fingers, notes or intervals
- Play the chord
About E7#9 — open string voicings
E7#9 is E, G#, B, D and G — E9 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.
E7#9 notes and formula
| E | G# | B | D | G |
|---|---|---|---|---|
| 1 | 3 | 5 | ♭7 | ♯9 |
Altered dominant — dominant function with a blues third on top.
Also written E7(#9), E7+9 or E7♯9. The same chord either way; which spelling you meet depends on who wrote the chart.
How to play E7#9
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.
E7#9 has 6 of them, on strings 6-4-3-2-1, strings 6-5-4-3-2, strings 6-5-4-3-2-1 and strings 5-4-3-2-1, from the 3rd fret up to the 5th — every inversion the chord has: E in the bass, G# in the bass and D in the bass. The one to learn first is the E shape at the 4th fret, which is the easiest grip here.
Start with 020103 — no barre and 3 open strings. 2 of the 12 shapes here sit in open position. 5 of the 12 need a barre. Together they cover the neck from the 1st fret to the 15th.
| Frets | Where | Bass | Top | Hand |
|---|---|---|---|---|
| 020103 | open position | E, root position | G | 3 open strings |
| xx2133 | 1st fret | E, root position | G | all fretted |
| x22133 | 1st fret | B, 2nd inversion | G | all fretted |
| 050034 | open position | E, root position | G# | 3 open strings |
| x7678x | 6th fret | E, root position | G | all fretted |
| 0-10-9-9-9-10 | 9th fret | E, root position | D | barred |
| x-10-9-9-9-10 | 9th fret | F##, 9th in the bass | D | barred |
| 12-11-12-12-x-x | 11th fret | E, root position | G | barred |
| x-11-12-12-12-12 | 11th fret | G#, 1st inversion | E | barred |
| 12-14-12-13-12-15 | 12th fret | E, root position | G | barred |
| 12-14-12-13-15-15 | 12th fret | E, root position | G | all fretted |
| x-x-14-13-15-15 | 13th fret | E, root position | G | all fretted |
The same notes rebuilt from scratch give 4 shell, 13 drop 2, 9 drop 3 and 14 rootless voicings, each on its own page.
Tensions. A shell of E7#9, 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 E7#9
E7#9 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, E7#9 → A. 2 voices move by a semitone, and one note is common to both chords.
| In E7#9 | Moves | In A |
|---|---|---|
| E, the root | stays where it is | E, the fifth |
| G#, the major third | rises a semitone | A, the root |
| B, the fifth | falls a whole tone | A, the root |
| D, the flat seventh | falls a semitone | C#, the major third |
| G, the sharp ninth | rises a whole tone | A, the root |
What to play over E7#9
Every note of E7#9 is in E half-whole diminished.
Chords near E7#9
Change one note of E7#9 and you have Em7 (drop the major third), Em9 (the major third becomes a ninth), E7 (drop the minor third), E9 (the minor third becomes a ninth), E7b9 (the minor third becomes a flat ninth) or E/G (drop the flat seventh).
E7#9 is an altered chord — a dominant seventh with its fifth or ninth moved. Altered dominant chords on every root.
On E7#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.