A#7♭5#9 — A# dominant seventh flat fifth sharp ninth chord
A dominant seventh chord with both the fifth and the ninth altered: the flat fifth and the sharp ninth are the two notes that make the chord fully altered.
- 1 = A#
- 3 = C##
- b5 = E
- b7 = G#
- #9 = B##
- Symbol
- A#7♭5#9
- Root
- A#
- Quality
- Dominant seventh flat fifth sharp ninth
- Family
- altered
- Notes
- A# C## E G# B##
- Degree formula
1 3 b5 b7 #9- Semitones from the root
0 3 4 6 10- Distinct pitch classes
- 5
- Interval structure
- Stacked from the root: 4 semitones, 2 semitones, 4 semitones, 5 semitones
- Notation
- Written 7♭5#9 or 7♭5(#9). A whole-tone dominant, resolving a fifth down.
- Key
- A# · Bb major / G minor key signature
Formula
The chord tones in order from the root, with the interval each one forms above it.
| Degree | Note | Semitones | Interval from the root |
|---|---|---|---|
| 1 | A# | 0 | Perfect unison |
| 3 | C## | 4 | Major third |
| b5 | E | 6 | Tritone |
| b7 | G# | 10 | Minor seventh |
| #9 | B## | 3 | Minor third |
Inversions
An inversion is the same set of notes with a different one in the bass. The last column gives the distance of each note above the bass note, in semitones.
| Inversion | Bass note | Degree in the bass | Notes above the bass | Semitones above the bass |
|---|---|---|---|---|
| root position | A# | 1 | A# – C## – E – G# – B## | 0 4 6 10 3 |
| first inversion | C## | 3 | C## – E – G# – B## – A# | 0 2 6 11 8 |
| second inversion | E | b5 | E – G# – B## – A# – C## | 0 4 9 6 10 |
| third inversion | G# | b7 | G# – B## – A# – C## – E | 0 5 2 6 8 |
| fourth inversion | B## | #9 | B## – A# – C## – E – G# | 0 9 1 3 7 |
Playable voicings
These shapes were found by searching the fretboard of a standard-tuned guitar (E A D G B E) rather than copied from a chord book. The search allows every string to sound or to be muted, rejects any shape with a muted string between two sounding strings, rejects any shape whose fretted notes span more than four frets (a five-fret window), requires every chord tone to be present, and then sorts what remains with root-position shapes first and the most compact, lowest shapes next. The shapes shown are the first six of that ordering; other orderings are possible at the same frets.
| # | Shape (low string first) | Notes | Degrees | Bass | Span (frets) | Sounding strings |
|---|---|---|---|---|---|---|
| 1 | 6-5-6-6-5-6 | A# D G# C# E A# | 1 3 b7 #9 b5 1 | A# | 1 | 6 |
| 2 | 6-5-6-6-5-4 | A# D G# C# E G# | 1 3 b7 #9 b5 b7 | A# | 2 | 6 |
| 3 | 6-4-6-7-5-4 | A# C# G# D E G# | 1 #9 b7 3 b5 b7 | A# | 3 | 6 |
| 4 | 6-4-6-7-5-6 | A# C# G# D E A# | 1 #9 b7 3 b5 1 | A# | 3 | 6 |
| 5 | 6-7-6-7-9-9 | A# E G# D G# C# | 1 b5 b7 3 b7 #9 | A# | 3 | 6 |
| 6 | 6-7-8-7-9-9 | A# E A# D G# C# | 1 b5 1 3 b7 #9 | A# | 3 | 6 |
Shape numbers run from the lowest string to the highest, so the left-hand number is the sixth string (low E) in standard tuning. Multiple shapes are listed because a chord can be voiced several ways, and because a lower position is not always the better sounding one.
Related chords and scales
- KeyEverything in A#
- ScaleA# whole tone
- ChordA#7♭9
- ChordA#
- ChordA#7
Related