A# 7th, Sharp 9th Banjo Chord

also known as A# dominant 7th sharp 9th

your first finger goes on the sixth fret of the third string
your third finger goes on the eighth fret of the first string
your fourth finger goes on the ninth fret of the second string
the fourth string is open

Diagram of an A# 7th, sharp 9th banjo chord at the open position (first inversion)

Notes in an A# 7th, Sharp 9th Banjo chord

Root : A#

3rd : D

5th : F

Flat 7th : G#

Sharp 9th : C#

A#7#9/D

Diagram of an A# 7th, sharp 9th banjo barre chord at the 11 fret (first inversion)

A#7#9/D

Diagram of an A# 7th, sharp 9th banjo barre chord at the 11 fret (fourth inversion)

A#7#9/C#

Diagram of an A# 7th, sharp 9th banjo chord at the 7 fret

A#7#9

Dominant seventh sharp ninth chord

In music, the dominant 7♯9 chord ("dominant seven sharp nine" or "dominant seven sharp ninth") is a chord built by combining a dominant seventh, which includes a major third above the root, with an augmented second, which is the same note, albeit given a different note name, as the minor third degree above the root. This chord is used in many forms of contemporary popular music, including jazz, funk, R&B, rock and pop. As a dominant chord in diatonic harmony, it most commonly functions as a turnaround chord, returning to the tonic. The chord is also sometimes colloquially known, among pop and rock guitarists, as the "Hendrix chord" or "Purple Haze chord", nicknamed for guitarist Jimi Hendrix, who showed a preference for the chord and did a great deal to popularize its use in mainstream rock music. When used by The Beatles it has been called the "Gretty chord" although this can refer to a distinct six-string version.