F#7#5♭9 — F# dominant seventh sharp fifth flat ninth chord
An augmented dominant seventh chord with the ninth flattened: the augmented triad, the minor seventh and the flat ninth together.
- 1 = F#
- 3 = A#
- #5 = C##
- b7 = E
- b9 = G
- Symbol
- F#7#5♭9
- Root
- F#
- Quality
- Dominant seventh sharp fifth flat ninth
- Family
- altered
- Notes
- F# A# C## E G
- Degree formula
1 3 #5 b7 b9- Semitones from the root
0 1 4 8 10- Distinct pitch classes
- 5
- Interval structure
- Stacked from the root: 4 semitones, 4 semitones, 2 semitones, 3 semitones
- Notation
- Written 7#5♭9 or +7♭9. An altered dominant resolving to a minor chord whose root is a fifth below.
- Key
- F# · F# major / D# 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 | F# | 0 | Perfect unison |
| 3 | A# | 4 | Major third |
| #5 | C## | 8 | Minor sixth |
| b7 | E | 10 | Minor seventh |
| b9 | G | 1 | Minor second |
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 | F# | 1 | F# – A# – C## – E – G | 0 4 8 10 1 |
| first inversion | A# | 3 | A# – C## – E – G – F# | 0 4 6 9 8 |
| second inversion | C## | #5 | C## – E – G – F# – A# | 0 2 5 4 8 |
| third inversion | E | b7 | E – G – F# – A# – C## | 0 3 2 6 10 |
| fourth inversion | G | b9 | G – F# – A# – C## – E | 0 11 3 7 9 |
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 | 2-1-2-3-3-3 | F# A# E A# D G | 1 3 b7 3 #5 b9 | F# | 2 | 6 |
| 2 | 14-13-14-15-15-15 | F# A# E A# D G | 1 3 b7 3 #5 b9 | F# | 2 | 6 |
| 3 | 2-1-0-0-3-0 | F# A# D G D E | 1 3 #5 b9 #5 b7 | F# | 3 | 6 |
| 4 | 2-1-2-0-3-0 | F# A# E G D E | 1 3 b7 b9 #5 b7 | F# | 3 | 6 |
| 5 | 2-1-2-0-3-2 | F# A# E G D F# | 1 3 b7 b9 #5 1 | F# | 3 | 6 |
| 6 | 2-1-2-0-3-3 | F# A# E G D G | 1 3 b7 b9 #5 b9 | F# | 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 F#
- ScaleF# diminished (half-whole)
- ChordF#7#5
- ChordF#
- ChordF#7
Related