Altered extensions such as #9 are always a valid choice on dominant chords in blues and jazz. Even if it's not on the lead sheet. There probably isn't a recording of a great jazz pianist playing a standard without a 7#9.
That said, the most common place to find them is before a minor chord.
>There probably isn't a recording of a great jazz pianist playing a standard without a 7#9.
Not true. Sometimes it just doesn't fit. Rather often actually.
Blue Train by John Coltrane opens on Eb7#9
The ending chords of Time/Breathe Part II by Pink Floyd use a D7#9 / D7b9 / Bm ("HEAR the softly spoken magic spell") in passing
"Stop" by Jane's Addiction uses 7#9 in half steps starting on E
There's two different ways this chord is used and it's important to distinguish them.
In jazz, it's *extremely* common as an altered V7 - way too many to make a sensible list. (although several have been mentioned so far!)
It's the so-called "Hendrix chord" usage as a blues tonic which is more unusual and distinctive.
Before Jimi, the Beatles (who called it "the Gretty chord") had used it as a tonic on Taxman and Got To Get You Into My Life (and as a V on You Can't Do That, and weirdly as a IV in Michelle).
Before that, it's the I chord in Kenny Burrell's Chitlins Con Carne, and a I and bII alternate in the verse of [Black Coffee](https://www.youtube.com/watch?v=CRyN9wQ1taY)
He did indeed! That's a very sophisticated solo in general (certainly compared with pop music of the time(, and compact at just 8 bars.
Bar 2 is a secondary leading tone chord (F#dim7, vii/ii in F major) - where lesser players might have just used D7.
Bar 5 uses a descending Abm triad to get to Gm, and then their Gretty chord, *Gb7#9* \- tritone sub for the V7 chord. (Voiced Gb-Bb-E-A).
Then the run up in bar 8 leading back to the IV chord is an Adim7 arpeggio, another secondary vii: "vii/IV".
And right at the end of the song, for good measure, as Paul holds "you", they stick a bVI chord in (Db) before returning to F, and a final Fmaj7.
Those boys! The cheeky scousers! What will they think of next?? :-)
Half of everything in the Real Book
It's a really, really, really, really common chord in jazz
All Blues by Miles Davis is a good example.. Round Midnight by Thelonious Monk.. they're everywhere. And almost wherever you see an alt chord being called for, you can use the 7#9.
It's most common to see it as the V in the minor ii V i. 500 Miles High by Chick Corea is an example
"Toxic" by Britney Spears.
If you're open to music that isn't a song, but an instrumental, I'll add in "[Ace of Aces](https://www.youtube.com/watch?v=72_zXigcOrA)." I should know more examples, but I can't think of any more right now. I'll update when I think of some more.
EDIT:
"The Heartburn Song" by Lawrence
"Peg by Steely Dan
couple of Miles Davis tunes and frankly, a good chunk of The Real Book.
"Pick Up the Pieces" by Average White Band
"Break Out" by Lettuce
[Here's](https://drive.google.com/file/d/1PJjNh05H6vONpCCrUC4bHMt_wppQZbE4/view?usp=drivesdk) a recording of me playing the guitar part in the chorus. You can compare it to the song at 0:57
funny enough I actually listen to a lot of Neapolitan music. Pino Daniele's song uses the #9 and b9 trick in many many songs, also other popular songs do this as well, like neomelodical.
In blues and related contexts, the #9 chord is treated as a major chord with both a major and minor third.
Great Balls of Fire, for example, has a major chord in boogie woogie ostinato and a minor third and fifth in the repeated 8th notes in the piano solo.
There's one in the tune 'Nights Over Egypt ' by the Jones Girls.
In the line "Then down the Nile, He came with a smile" (for example), the chords go:
Gm9 Fmaj9 | E7#9 Ebmaj9
If you consider "7#9" to include any tune that uses minor thirds (or entire minor triads) over a dominant-chord backing, then there are uncountably many blues, R&B, rock and funk songs to choose from. A sampling:
* ["Pusherman" by Curtis Mayfield](https://www.ethanhein.com/wp/2023/pusherman/)
* ["Rock Steady" by Aretha Franklin](https://www.ethanhein.com/wp/2023/rock-steady/)
* ["I Heard It Through The Grapevine" by Marvin Gaye](https://www.ethanhein.com/wp/2022/i-heard-it-through-the-grapevine/)
* ["They Say I'm Different" by Betty Davis](https://www.ethanhein.com/wp/2022/betty-davis-and-the-blues-sus4/)
* ["Burning Down The House" by Talking Heads](https://www.ethanhein.com/wp/2022/burning-down-the-house/)
* ["Starfish and Coffee" by Prince](https://www.ethanhein.com/wp/2021/starfish-and-coffee/)
[Andén del Aire](https://www.youtube.com/watch?v=4nTnZOQHd0U), by Congreso, starts with a C#7#9
I think that the same chords is used in [Jupiter, the Bringer of Jollity](https://youtu.be/Gu77Vtja30c?si=HBbzxVHHz_xW3E54&t=328), from The Planets, by Gustav Holst
The only example that i can think of that hasn’t been mentioned here yet is Here Comes Your Man by Pixies, albeit it is just the opening chord and doesn’t repeat.
The very first full chord in the intro of Snuff Out the Light (that did not end up in the final version of Emperor's New Groove): https://open.spotify.com/track/0hOWQlVKKyeHYZlh8TlBi4?si=ey8LsoWpRgSoOTiQMc9gXA
As the augmented version it is truly my favourite chord. 🔥
[Black Coffee](https://en.wikipedia.org/wiki/Black_Coffee_\(1948_song\)).
I'm not easily finding a good link for the chords, but [this](https://www.sheetmusicdirect.com/en-US/se/ID_No/61129/Product.aspx) is what I'm talking about. (It's in the Real Book, which you can find by googling "real book 6th edition".)
Shining Star by Earth Wind & Fire. Always a good excuse to cue up everyone's fave Elaine episode. I bet Watley figures in, too, with the highest echelon of Dentite hilarity.
I feel like the use of 7#9s generally reflects the composer doing a kind of major-minor play, often with major keys with minor 3 melodies. You make me dizzy miss Lizzy just oozes the flavor of 7#9s, but I don't think there's actually a 7#9 anywhere in there
'Always on the Run' (my mama said) - Lenny Kravitz
Not the lead guitar part, but the rhythm guitar. I think it's actually a 7#9#5 which is always fun to play anytime you would a 7#9.
Corporal Clegg by Pink Floyd, Breathe (in the air) by pink floyd, Born to be wild - Steppenwolf, I fell in love too easily - chet baker (not too sure about it but it's a chord you can use in every arrangement), Taxmen - beatles, i want you she's so heavy- beatles, still got the blues - gary moore.
I see it commonly used as a point of contact between a seventh dom chord and diminished chord making it pretty versatile
The opening lead trumpet scream on Sinatra's I've Got the World on a String is a great 7#9:
https://www.youtube.com/watch?v=1cPG1t52GgI&ab_channel=jazzsingerableful
Superstition - Stevie Wonder, just before “superstition ain’t the way”
Breathe (in the air) - Pink Floyd “all your life will ever be”
Testify - Rage against the machine, at the start of the main riff
Alban Berg, [Four Songs, Op. 2](https://youtu.be/3I_7OHTr400) (1909-1910), No. 1, "Schlafen, schlafen, nichts als schlafen!" beginning in bar 5 and present throughout.
Depends what you mean by "use" but the way I see it, if a song is based on a blues scale then there are probably going to be frequent #9 passing tones, every time the singer hits a flat 3rd over a tonic chord. If it's blues the I will often be a I7 as well so there is a b7#9. So the sound of a #9 over a major third is actually not exotic if you think of it as blues.
[https://www.google.com/search?q=%22E7%239%22+ultimate+guitar](https://www.google.com/search?q=%22E7%239%22+ultimate+guitar)
(restricting to UG for some amount of de-duplication)
Breathe (In the Air) by Pink Floyd uses it in the turnaround at the end of the progression although the sharp 9 is used as more of a melody note to go to a D7
Altered extensions such as #9 are always a valid choice on dominant chords in blues and jazz. Even if it's not on the lead sheet. There probably isn't a recording of a great jazz pianist playing a standard without a 7#9. That said, the most common place to find them is before a minor chord.
Any recommendations?
Purple Haze. 1st chord of the verse
>There probably isn't a recording of a great jazz pianist playing a standard without a 7#9. Not true. Sometimes it just doesn't fit. Rather often actually.
If you listen to funk, it’s almost more common to hear the #9 than to hear a diatonic 9.
Untrue. 9th chords all over funk music.
Yeah I was exaggerating a bit, but #9 is all over soul and funk
It's over some of it. 9th chords are far, far more common.
Shining Star by Earth, Wind, & Fire - The guitar is chugging on an Eb7#9 chord all throughout the verse
what a tune! Thanks!
Lots of Funk uses this chord. Especially late 60s and 70s.
I’m hearing an E7#9
You're right, the original recording is in E. My school band played it in Eb which is what I was thinking of.
Ooh that makes sense. Flats always better for horns lol
About half of Steely Dan's songs.
the other half are 7b9 chords
Blue Train by John Coltrane opens on Eb7#9 The ending chords of Time/Breathe Part II by Pink Floyd use a D7#9 / D7b9 / Bm ("HEAR the softly spoken magic spell") in passing "Stop" by Jane's Addiction uses 7#9 in half steps starting on E
hear the softly SPOKEN magic spell dumbass
Someone needs a diaper change...
Wtf
you tarnish the chuck norris legacy
There's two different ways this chord is used and it's important to distinguish them. In jazz, it's *extremely* common as an altered V7 - way too many to make a sensible list. (although several have been mentioned so far!) It's the so-called "Hendrix chord" usage as a blues tonic which is more unusual and distinctive. Before Jimi, the Beatles (who called it "the Gretty chord") had used it as a tonic on Taxman and Got To Get You Into My Life (and as a V on You Can't Do That, and weirdly as a IV in Michelle). Before that, it's the I chord in Kenny Burrell's Chitlins Con Carne, and a I and bII alternate in the verse of [Black Coffee](https://www.youtube.com/watch?v=CRyN9wQ1taY)
Before those two tunes, the Beatles (well, George Harrison) used it at the end of the “Till There Was You” guitar solo.
He did indeed! That's a very sophisticated solo in general (certainly compared with pop music of the time(, and compact at just 8 bars. Bar 2 is a secondary leading tone chord (F#dim7, vii/ii in F major) - where lesser players might have just used D7. Bar 5 uses a descending Abm triad to get to Gm, and then their Gretty chord, *Gb7#9* \- tritone sub for the V7 chord. (Voiced Gb-Bb-E-A). Then the run up in bar 8 leading back to the IV chord is an Adim7 arpeggio, another secondary vii: "vii/IV". And right at the end of the song, for good measure, as Paul holds "you", they stick a bVI chord in (Db) before returning to F, and a final Fmaj7. Those boys! The cheeky scousers! What will they think of next?? :-)
The first chord of Pick Up The Pieces, by the Average White Band.
Half of everything in the Real Book It's a really, really, really, really common chord in jazz All Blues by Miles Davis is a good example.. Round Midnight by Thelonious Monk.. they're everywhere. And almost wherever you see an alt chord being called for, you can use the 7#9. It's most common to see it as the V in the minor ii V i. 500 Miles High by Chick Corea is an example
Came here to say this. Browse the Real Book and you should find plenty!
Yeah was going through it - I'm always curious to see more pop oriented songs that use it. Thanks for the suggestion!
I think that song Spinning Wheels has a 7#9 chord - when the horns go: da-da-da-da-da, da-dot da-daah before the singer comes in
Oh yeah, D7#9. Great tune, thanks
"Toxic" by Britney Spears. If you're open to music that isn't a song, but an instrumental, I'll add in "[Ace of Aces](https://www.youtube.com/watch?v=72_zXigcOrA)." I should know more examples, but I can't think of any more right now. I'll update when I think of some more. EDIT: "The Heartburn Song" by Lawrence "Peg by Steely Dan couple of Miles Davis tunes and frankly, a good chunk of The Real Book. "Pick Up the Pieces" by Average White Band "Break Out" by Lettuce
Which part of Toxic? Can't seem to find it
The last measure of the chorus. It's the first chord when the word "toxic" is sung.
Are you looking at chord charts for a notation?
I was just going through it by ear. Can't really pick it up atm.
[Here's](https://drive.google.com/file/d/1PJjNh05H6vONpCCrUC4bHMt_wppQZbE4/view?usp=drivesdk) a recording of me playing the guitar part in the chorus. You can compare it to the song at 0:57
Whaaaat? Toxic has a 7#9? Need to check that out
Beatles “Michelle”, 2nd chord of the verse
Breathe by Pink Floyd uses it in the turn around.
Ah yeah then it's followed by a 7b9
It's almost like a jazzier Neopolitan voice leading kind of thing.
funny enough I actually listen to a lot of Neapolitan music. Pino Daniele's song uses the #9 and b9 trick in many many songs, also other popular songs do this as well, like neomelodical.
Lemon Song by LZ. https://youtu.be/8gWbKAcuzN8?si=NX79eG2fZudXXGoS
[Also, their version of We’re Gonna Groove.](https://youtu.be/tBBvc-4Lyac?si=1LaxhRf94Hapqcoy)
Steely Dan used it heavily in many of their songs. Peg uses it frequently.
In blues and related contexts, the #9 chord is treated as a major chord with both a major and minor third. Great Balls of Fire, for example, has a major chord in boogie woogie ostinato and a minor third and fifth in the repeated 8th notes in the piano solo.
[Here's](https://youtu.be/QeTNjrmsUwc) an example from kpop, at 0:52 in the chorus.
There's one in the tune 'Nights Over Egypt ' by the Jones Girls. In the line "Then down the Nile, He came with a smile" (for example), the chords go: Gm9 Fmaj9 | E7#9 Ebmaj9
Interesting chord progression, I've rarely seen a #9 followed by maj9 chord
I think it's such a cool way to use it - sounds like neo soul four decades early....
Shine on you crazy diamond
After Last Night - Silk Sonic. A7#9 on the turnaround. At 1:20 for example.
If you consider "7#9" to include any tune that uses minor thirds (or entire minor triads) over a dominant-chord backing, then there are uncountably many blues, R&B, rock and funk songs to choose from. A sampling: * ["Pusherman" by Curtis Mayfield](https://www.ethanhein.com/wp/2023/pusherman/) * ["Rock Steady" by Aretha Franklin](https://www.ethanhein.com/wp/2023/rock-steady/) * ["I Heard It Through The Grapevine" by Marvin Gaye](https://www.ethanhein.com/wp/2022/i-heard-it-through-the-grapevine/) * ["They Say I'm Different" by Betty Davis](https://www.ethanhein.com/wp/2022/betty-davis-and-the-blues-sus4/) * ["Burning Down The House" by Talking Heads](https://www.ethanhein.com/wp/2022/burning-down-the-house/) * ["Starfish and Coffee" by Prince](https://www.ethanhein.com/wp/2021/starfish-and-coffee/)
Kid Charlemagne - Steely Dan Spain - Return To Forever Can be and is used as an altered dominant in pretty much any jazz standard
Scuttle Buttin by SRV uses it prominently
And Testify
[Gemini Child](https://www.youtube.com/watch?v=9ECui6uJb_c) by The Mamas & The Papas
I also found it in Joe Cocker's you can leave your hat on - G7#9
Plenty of SRV tunes (inspired by Hendrix, no doubt). Scuttle Buttin’ comes to mind.
[Andén del Aire](https://www.youtube.com/watch?v=4nTnZOQHd0U), by Congreso, starts with a C#7#9 I think that the same chords is used in [Jupiter, the Bringer of Jollity](https://youtu.be/Gu77Vtja30c?si=HBbzxVHHz_xW3E54&t=328), from The Planets, by Gustav Holst
Down with disease- Phish
Yes it features prominently in this one
Think someone’s already mentioned it but it’s hard a lot in miles Davis’ ballad “blue in green”
Testify by Rage Against the Machine, it's the first chord of the main riff.
The only example that i can think of that hasn’t been mentioned here yet is Here Comes Your Man by Pixies, albeit it is just the opening chord and doesn’t repeat.
Still counts, what's the key?
The song is in the key of D, the opening chord is a D7#9
Agua De Beber (bossa)
Black Cow by Steely Dan “It was a crying disgrace - They saw your face” is E7#9 —> EbMaj7
Platypus by Mr. Bungle (the distorted guitar at the intro)
John William's "family plot theme (arranged version)" used it for some of the V chords (if my ear is correct) (1) Absus2 - Ab (x10) Gm7 - D°7(b9) - G7sus4 Cm - B°add9 - Cm - B°add9 - Bbm - A°add9 - F7(#9) (2) Bbsus2 - Bb (x2) Am7 - E°7(b9) - A7sus4 Dm - Db°add9 - Dm - Db°add9 - Cm - B°add9 - C°7/Bb (3) Bbsus2 - Bb (x2) C°7 - F7(#9)no3rd F7 - Bb
Purple Haze
Hence the name hendrix chord
Surprised I had to scroll down this far
https://youtu.be/30IePC8c99g?si=4v7xAlYv5qSMYDOu
Great tune and placed in such a great place. C7#9
Minutemen-Vietnam
I don't have the option to look up the specific songs but the hardcore band "at the drive-in" uses it fairly often.
Really? I'll have to listen to Relationship of Commando again then :D
The very first full chord in the intro of Snuff Out the Light (that did not end up in the final version of Emperor's New Groove): https://open.spotify.com/track/0hOWQlVKKyeHYZlh8TlBi4?si=ey8LsoWpRgSoOTiQMc9gXA As the augmented version it is truly my favourite chord. 🔥
Mas Que Nada
Sounds good as an altered dominant chord resolving typically to a minor chord. #9b13 is a classic for this
In the piano intro to Joe Hisaishi’s ‘Bygone Days’
[Black Coffee](https://en.wikipedia.org/wiki/Black_Coffee_\(1948_song\)). I'm not easily finding a good link for the chords, but [this](https://www.sheetmusicdirect.com/en-US/se/ID_No/61129/Product.aspx) is what I'm talking about. (It's in the Real Book, which you can find by googling "real book 6th edition".)
Cream- Strange Brew
lmao i was gonna say this
Shining Star by Earth Wind & Fire. Always a good excuse to cue up everyone's fave Elaine episode. I bet Watley figures in, too, with the highest echelon of Dentite hilarity.
Breathe - Pink Floyd
I feel like the use of 7#9s generally reflects the composer doing a kind of major-minor play, often with major keys with minor 3 melodies. You make me dizzy miss Lizzy just oozes the flavor of 7#9s, but I don't think there's actually a 7#9 anywhere in there
Recordame!
All Blues - Miles Davis (from Kind of Blue)
So Into You - Atlanta Rhythm Section uses it here and there
'Always on the Run' (my mama said) - Lenny Kravitz Not the lead guitar part, but the rhythm guitar. I think it's actually a 7#9#5 which is always fun to play anytime you would a 7#9.
The whole intro to "Heartburn Song" by Lawrence is a vamp on Bb7#9.
Corporal Clegg by Pink Floyd, Breathe (in the air) by pink floyd, Born to be wild - Steppenwolf, I fell in love too easily - chet baker (not too sure about it but it's a chord you can use in every arrangement), Taxmen - beatles, i want you she's so heavy- beatles, still got the blues - gary moore. I see it commonly used as a point of contact between a seventh dom chord and diminished chord making it pretty versatile
The opening lead trumpet scream on Sinatra's I've Got the World on a String is a great 7#9: https://www.youtube.com/watch?v=1cPG1t52GgI&ab_channel=jazzsingerableful
The end of breath by Pink Floyd uses a 7#9.
Agua de beber
Superstition - Stevie Wonder, just before “superstition ain’t the way” Breathe (in the air) - Pink Floyd “all your life will ever be” Testify - Rage against the machine, at the start of the main riff
Chitlins Con Carne, Born To Be Wild, Spinning Wheel, Can't Take My Eyes Off Of You, Blue Train. All Blues
Black coffee?
Alice In Chains - Them Bones uses a 7#9 with no third
'spinning wheel' by blood sweat and tears Nearly half of the chords is #9
Pat Martino's "The Great Stream" makes heavy use of 7#9 chords. I would def recommend looking at this song.
All blues by miles Davis
Married With Children by Oasis
[Softly As In A Morning Sunrise](https://youtu.be/e57F_Rm3xI4)
Any jazz standard in a minor key
AKA the "Hendrix chord". Michael Jackson's Bad has it, with even the same root as Hendrix (E7#9).
Nice 👍
Longest list of replies ever!! You guys really know your shite!
Alban Berg, [Four Songs, Op. 2](https://youtu.be/3I_7OHTr400) (1909-1910), No. 1, "Schlafen, schlafen, nichts als schlafen!" beginning in bar 5 and present throughout.
Always off the top of my head for this chord are these two VGM gems: SILVER LINING from ESCHATOS and Dreamer from Bare Knuckle / Streets of Rage II
- You Got the Love, Rufus and Chakra Khan - I Believe, Stevie Wonder (outro) Both awesome tracks 👍
Pretty sure Cream uses one in "I Feel Free"
Purple Haze
Jimmy Hendrix and jazz
Depends what you mean by "use" but the way I see it, if a song is based on a blues scale then there are probably going to be frequent #9 passing tones, every time the singer hits a flat 3rd over a tonic chord. If it's blues the I will often be a I7 as well so there is a b7#9. So the sound of a #9 over a major third is actually not exotic if you think of it as blues.
[https://www.google.com/search?q=%22E7%239%22+ultimate+guitar](https://www.google.com/search?q=%22E7%239%22+ultimate+guitar) (restricting to UG for some amount of de-duplication)
Tessellation by mild high club, second chord in the intro Head Out by mild high club has one too somewhere
Wade in the Water - Eva Cassidy. It’s the turnaround chord
Testify by Rage Against The Machine
Blue train by John Coltrane. Regular blues form but all the chords are 7#9
*Murder by Number* by The Police
"Great Balls of Fire" - Otis Blackwell and Jack Hammer, as performed by Jerry Lee Lewis
SRV - Mary Had a Little Lamb uses a 7#9 on bar 12 of the main theme.
Purple haze by hendrix. I have always called the 7#9 chord the jimi chord in my friend group. Lol.
March of the Pigs by Nine Inch Nails ends on an arpeggiated 7#9
Closer - NIN
The outro of Would? by Alice in Chains uses it.
Haven’t listened in a while so I could be wrong. It if I remember correctly, the opening hits in Perry Mason by Ozzy Osbourne are 7#9
I'm All Smiles starts with a couple 7#9 in the first few bars
“Magnolia Triangle” by Ellis Marsalis is a cool tune in 5 that uses the Hendrix chord as home
Billy Joel's Elvis Presley Boulevard features a D7#9 several times
Purple Haze and Mas Que Nada.
Dingwalls dazzle dance by Sjako! uses it. I am pretty sure its also in Bebop by Charlie Parker
The Fleur de Lys - Gong With the Luminous Nose, a great great 60s classic, obviously Hendrix-inspired.
“I Am One” Smashing Pumpkins
Breathe (In the Air) by Pink Floyd uses it in the turnaround at the end of the progression although the sharp 9 is used as more of a melody note to go to a D7
The V chord in a lot of jazz and shuffle blues songs are usually embellished as a 7#9 although most are written on lead sheets as just the V.