C 7th, Sharp 9th Banjo Chord

also known as C dominant 7th sharp 9th

make a barre on the first fret with your first finger from the first string to the fourth string
your second finger goes on the second fret of the fourth string
your third finger goes on the third fret of the third string

Diagram of a C 7th, sharp 9th banjo barre chord at the 1 fret (first inversion)

Notes in a C 7th, Sharp 9th Banjo chord

Root : C

3rd : E

5th : G

Flat 7th : A#

Sharp 9th : D#

C7#9/E

Diagram of a C 7th, sharp 9th banjo barre chord at the 1 fret (fourth inversion)

C7#9/D#

Diagram of a C 7th, sharp 9th banjo chord at the 9 fret

C7#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.