F#7#9 guitar chord
The root left to the bass player. Frees a finger for a tension.
- Tap a note to hear it
- Arrows change position
- Fingers, notes or intervals
- Play the chord
About F#7#9 — rootless voicings
F#7#9 is F#, A#, C#, E and A — F#9 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.
F#7#9 notes and formula
| F# | A# | C# | E | A |
|---|---|---|---|---|
| 1 | 3 | 5 | ♭7 | ♯9 |
Altered dominant — dominant function with a blues third on top.
Also written F#7(#9), F#7+9 or F#7♯9. The same chord either way; which spelling you meet depends on who wrote the chart.
How to play F#7#9
Leave the root to the bass player. In a band nobody misses it, and the ear supplies it from the guide tones anyway.
The finger it frees goes to a tension, which is why these sound richer than the shape they came from rather than thinner.
F#7#9 has 14 of them, on the middle four strings, the top four strings and strings 5-3-2-1, from open position up to the 13th — every inversion the chord has: A# in the bass, C# in the bass, E in the bass and G## in the bass. The one to learn first is the A# shape at the nut, which is the easiest grip here.
5 of them sit on the middle 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 xx4355 — no barre and low, at the 3rd fret. None of the shapes for F#7#9 uses an open string, so every one of them is movable; the lowest sits at the 1st fret. 5 of the 9 need a barre. Together they cover the neck from the 1st fret to the 14th.
| Frets | Where | Bass | Top | Hand |
|---|---|---|---|---|
| 2122xx | 1st fret | F#, root position | A | barred |
| x12222 | 1st fret | A#, 1st inversion | F# | barred |
| 242325 | 2nd fret | F#, root position | A | barred |
| 242355 | 2nd fret | F#, root position | A | all fretted |
| xx4355 | 3rd fret | F#, root position | A | all fretted |
| x44355 | 3rd fret | C#, 2nd inversion | A | all fretted |
| x-9-8-9-10-x | 8th fret | F#, root position | A | all fretted |
| x-12-11-11-11-12 | 11th fret | G##, 9th in the bass | E | barred |
| 14-13-14-14-14-14 | 13th fret | F#, root position | F# | barred |
The same notes rebuilt from scratch give 4 shell, 13 drop 2, 8 drop 3 and 5 open string voicings, each on its own page.
Tensions. A shell of F#7#9, root, third and seventh, leaves a string free, and the tones that belong over it are the #11 (B#), the b13 (D) and the 13 (D#).
How to use F#7#9
F#7#9 is a dominant with its tension raised, so it still points at B — harder than a plain seventh does, because the altered tones sit a semitone from where they are going.
Voice by voice, F#7#9 → B. 2 voices move by a semitone, and one note is common to both chords.
| In F#7#9 | Moves | In B |
|---|---|---|
| F#, the root | stays where it is | F#, the fifth |
| A#, the major third | rises a semitone | B, the root |
| C#, the fifth | falls a whole tone | B, the root |
| E, the flat seventh | falls a semitone | D#, the major third |
| A, the sharp ninth | rises a whole tone | B, the root |
What to play over F#7#9
Every note of F#7#9 is in F# half-whole diminished.
Chords near F#7#9
Change one note of F#7#9 and you have F#m7 (drop the major third), F#m9 (the major third becomes a ninth), F#7 (drop the minor third), F#9 (the minor third becomes a ninth) or F#7b9 (the minor third becomes a flat ninth).
F#7#9 is an altered chord — a dominant seventh with its fifth or ninth moved. Altered dominant chords on every root.
On F#7#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.