Where's the Hendrix chord on the E9th?

Alex Cattaneo · Post by **Alex Cattaneo** » 8 Jan 2013 9:44 am

Guess I'm just a bit lazy this morning, ha ha!

Looking for the best way to play D7(#9) spelled , low to high, D - F# - C - F. Very popular chord on guitar, and now I need for a song I'm working on...

Alex Cattaneo · Post by **Alex Cattaneo** » 8 Jan 2013 9:52 am

Best I got so far is fret 4

string 9 (F#)
string 6 (C )
string 5A (F )

Earnest Bovine · Post by **Earnest Bovine** » 8 Jan 2013 10:05 am

Adding A natural on top may help.

Brett Lanier · Post by **Brett Lanier** » 8 Jan 2013 10:20 am

Eighth fret, strings 7,5,4,3, with B pedal and 5 lowered 1/2 step.

Alex Cattaneo · Post by **Alex Cattaneo** » 8 Jan 2013 10:35 am

Brett, what are you doing to me? I can't buy another guitar right now and I don't have the string-5-lower-half change!

But yeah, that would work nicely.

By the way, how does that change work in relation with the A pedal? Do you get a tuned split like the lower string 6 lever and the b pedal?

Brett Lanier · Post by **Brett Lanier** » 8 Jan 2013 11:16 am

Haha... If you do, get a double neck. The sharp 9 chord that you get with pedal 8 is better than the real Hendrix chord on a guitar.

Alex Cattaneo wrote: By the way, how does that change work in relation with the A pedal? Do you get a tuned split like the lower string 6 lever and the b pedal?

Yes, it can be tuned that way on all pull guitar (with a final stop screw or an extra rod). I play a push pull so the knee lever does nothing when the A pedal is engaged.

Brett Lanier · Post by **Brett Lanier** » 8 Jan 2013 11:23 am

Ok, found another one. Not the easiest grip though if you need to play all the notes at the same time.

Fret 12. Strings 9,7,5,4 with 1/2 A pedal and F lever.

Mark van Allen · Post by **Mark van Allen** » 8 Jan 2013 12:23 pm

Alex, lots of ways to get partials of that one, but in the exact inversion you want with some nice low end to it, Fret 3 string 10, 8, 6 with Es lowered and B pedal, and grab the #9 on the second string lowered a half step. Probably easiest played as a triad on the bottom, then the 2nd string, but it's a good sound.

Alex Cattaneo · Post by **Alex Cattaneo** » 8 Jan 2013 12:26 pm

That's a tough grip Mark! Thanks!

Alex Cattaneo · Post by **Alex Cattaneo** » 8 Jan 2013 12:29 pm

I guess the top 3 notes (the 3 and the #9 with the b7 in between) is good enough... as long as the bass player does it's job!

Olli Haavisto · Post by **Olli Haavisto** » 8 Jan 2013 2:30 pm

A good partial D7 #9:

4th fret strings 9,6 and 5 , A pedal. Release A pedal for a b9.

edit. oops, you already had it...

Marc Friedland · Post by **Marc Friedland** » 8 Jan 2013 2:35 pm

Alex –

Strings: 9 7 5 4 (go halfway down on C pedal)
This will give you D F# C F
And yes I realize it’s not easy to quickly engage the C pedal halfway with accuracy.

When I want to play this chord in “E”
8th string Open
6th string Open
Bar on 3rd fret covering the 4th & 5th strings

My own personal taste – I usually leave out the G# 6th string giving me E D G
And leaving out the 6th string makes it’s easier for the bar not having to slant over the 6th string so it can ring out.

Good luck & have fun!

Marc

www.PedalSteelGuitarMusic.com

Rick Schmidt · Post by **Rick Schmidt** » 9 Jan 2013 10:47 pm

and yet another possible option, (if you have the KL that lowers string 9, D-C#)

Fret 1... strings 9,7,5,4, &3 (more or less stacked 4ths/ "quartal" harmony)

I myself use the fret 4 option with A+F without the low root most of the time, but there are alot of other partials that sound great on E9!

Bengt Erlandsen · Post by **Bengt Erlandsen** » 10 Jan 2013 1:24 am

If it is only the D7#9 chord you want, then play open strings 9 7 and nose tip of your bar on strings 5 and 4 at 1st fret will give the correct D F# C F voicing . Using tip of bar works a lot easier imo than a half C pedal or a half A pedal w E's-F to get the same voicing.

Bengt Erlandsen
ZumSteel S12extE9 7+7

John McClung · Post by **John McClung** » 10 Jan 2013 7:12 pm

For extended E9 players:

(1) strings 12-9-7 (raise string 7 a half step with a KL); from bottom: root-b7-#9.

(2) strings 12-9-6 (lower string 6 a half step if you that on a pedal or KL; or splitting B pedal raise and sixth string full step lower)

Get's a great bassy sound.

Just due to habit and ease of getting it, I mostly still reach for the string 9-6-5 plus A pedal version. The rule is: it's 6 frets above or below the open position major chord for which you want the dom7#9 extension.

Brint Hannay · Post by **Brint Hannay** » 10 Jan 2013 9:40 pm

John McClung wrote:Just due to habit and ease of getting it, I mostly still reach for the string 9-6-5 plus A pedal version. The rule is: it's 6 frets above or below the open position major chord for which you want the dom7#9 extension.

Or: It's 1 fret below the AB pedals position major chord.

Allen Kentfield · Post by **Allen Kentfield** » 11 Jan 2013 8:44 am

I call it my SRV chord, but I guess it's the same; try 10,8,6,and 2 with B pedal down and 2 and 8 lowered 1/2 tone. I like it on fret 4, since Jimi and Stevie both tuned in Eb.

John McClung · Post by **John McClung** » 11 Jan 2013 11:12 am

Brint, that's an excellent rule, for some reason I seldom view from closed position. I'll work that into my bag of positions tricks! Thanks.

Alex Cattaneo · Post by **Alex Cattaneo** » 11 Jan 2013 4:50 pm

Thanks everyone, I will tab all these next week to make a nice reference page.

Rick, I like that voicing, and will use it for sure, but isn't that more like a minor 11 chord? No F#!!!

Rick Schmidt · Post by **Rick Schmidt** » 11 Jan 2013 5:27 pm

Alex Cattaneo wrote: Rick, I like that voicing, and will use it for sure, but isn't that more like a minor 11 chord? No F#!!!

Yeah you're right Alex...I find that I use that as an alternative for the 7#9 chord when comping alot. It works well for similar uses...it just doesn't have the dissonant min/Maj 3rd sound

Archie Nicol · Post by **Archie Nicol** » 11 Jan 2013 5:33 pm

And now, The Universal Question.

Someone done stole my ninth strang.

Arch.

Bengt Erlandsen · Post by **Bengt Erlandsen** » 14 Jan 2013 12:19 am

After some thinking I found that it is possible to use split-tuning and do C-pedal + E's-Eb and B-Bb at the same time to produce the 1 3 b7 #9 voicing on strings 9 7 5 4 on any fret.

Lowering string 10 B-Bb together with the C pedal would also give the 1 3 b7 #9 on strings 10 9 6 5

On my ExtE9 I usually get the 1 3 b7 #9 voicing by raising string 11 to A# together with using the Apedal B's-C# playing strings 11 9 6 5.
This gives a Bb7#9 voicing on open strings. Moving thumb to play strings 12 9 6 5 instead give me an E13 voicing in the same position.

Bengt Erlanden
Zumsteel S12extE9 7+7

Roger Rettig · Post by **Roger Rettig** » 14 Jan 2013 5:33 am

It may not strictly speaking be complete, but I think the 9/6/5 with A pedal is very concise and provides the essence of the chord. Like Brint it's stuck in my head as 'one fret below A+B'.

A nice, easy and familiar grip, too.

Frank Gilbert · Post by **Frank Gilbert** » 14 Jan 2013 6:18 am

I find it useful to slant forward strings 10-8-6 no pedals. It's a pretty straight grip that can resolve on a minor by sliding.
Ex: E7(#9)
string 10-fret 9
string 8-fret 10
string 6-fret 11
Than Am fret 8 w/ A pedal
B pedal and G to F# lever can than fake the Cry Me a River lick.
I do realize that's not exactly the context you intend to use it in.

Brad Malone · Post by **Brad Malone** » 14 Jan 2013 5:40 pm

Fret one or 13 String 9 for D...string 8 for F#, string 5 for C and string four for F...lower string 9 from D to C# and raise string 8 E to F