The D7#9 chord is one of the most recognizable sounds in jazz, blues, and funk — gritty, colorful, and packed with tension. But if you’ve only played it from a chord chart, you might be missing how much power it has in your comping and soloing.
In this post, we’ll break down:
- How to build and play a rootless D7#9 voicing
- When and where to use it
- How it fits into a ii–V–I progression
- A soloing cell you can use right away over D7#9
What Is a D7#9 Chord?
A D7#9 chord is a dominant seventh chord (D7) with an added sharp ninth (F double sharp, often written as G natural on guitar). This extension creates dissonance and color — perfect for dominant-function chords resolving to a tonic.
The full chord formula is:
1 – 3 – 5 – b7 – #9
On guitar, we often omit the root when comping with other instruments. That’s where rootless voicings come in handy.
Rootless D7#9 Voicing (With the Root on the 2nd String)
Here’s a practical D7#9 shape you can play today. It leaves out the root and starts from the 2nd string as the visual anchor.
Voicing (low to high):
- 5th – 3rd – b7 – #9
- Pinky on the #9
- Middle finger on the 5th
- Index on the 3rd
- Ring finger on the b7
The root is implied on the 2nd string — it’s not played but is mentally referenced for orientation. Use a fretboard map to visualize root positions on the 2nd string so you can move this shape to other keys.
When to Use D7#9
This voicing works any time you need a D7 chord — but it especially shines in these situations:
- When D7 is functioning as a true dominant (V7)
- In secondary dominants (e.g., D7 resolving to G in key of C)
- When you want to add tension before resolving to a major or minor chord
You can also substitute this chord for any standard D7 shape to instantly add more color and grit to your comping.
Voice Leading Through a ii–V–I Using D7#9
Let’s look at how D7#9 works inside a ii–V–I progression in the key of G:
Am7 → D7#9 → Gmaj7
This chord sequence gives you smooth, logical motion between voices:
- The b7 of Am7 drops to become the 3rd of D7
- The 5th of Am7 moves up to become the #9 of D7
This creates contrary motion, which sounds great in a comping context.
From D7#9 to Gmaj7, most notes resolve downward, but the 3rd of D7 stays put and becomes the 7th of Gmaj7 — a subtle but powerful connection.
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Soloing Over D7#9: Try This Altered Scale Cell
If you’re playing over a D7#9 chord, the altered scale (aka Super Locrian) is a great choice. But instead of memorizing the full scale, try this compact altered scale cell:
#9 – 3 – b5 – #5 – b7 – root – b9 – #9
This 8-note pattern includes the key chord tones (3, b7, #9) plus colorful tensions (b5, #5, b9). You can play it ascending or descending and drop it right into a line or phrase without worrying about where the root falls.
Practice Line: ii–V–I with D7#9
Here’s a simple melodic line that highlights this chord:
- Descending Am7 idea (5–3–2 or 9–1–7)
- Chromatic approach into D7#9
- Ascend through the altered scale cell
- Resolve into a Gmaj7 arpeggio (5–3–1–7 → 1–3–5–7–9)
This line connects your comping and soloing, giving you a musical way to apply everything above.
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