The A#9 guitar chord is a dominant 9th chord with the notes A#, D, F, G#, C. Its first guitar voicing is the movable voicing: low E string at fret 6 (little finger); A string at fret 3 (index finger); D string open; G string at fret 3 (middle finger); B string at fret 6 (little finger); high e string at fret 4 (ring finger). Whether you are learning it for the first time or checking a voicing, this page has the notes, the guitar fingerings, the inversions and alternatives, and the progressions it appears in.
What notes are in the A#9 chord?
The A#9 chord is a dominant 9th chord, and its notes are fixed: A#, D, F, G#, C. Every voicing on every instrument uses these same notes, in some order and in some octave — change one of them and you are playing a different chord. The table below lists each note with its interval from the root A#, so you can see the structure of A#9 at a glance. On the guitar, the movable voicing of A#9 puts those notes under your fingers in the order the fingering lists them.
| Note | Interval |
|---|---|
| A# | Root |
| D | 3 |
| F | 5 |
| G# | b7 |
| C | 9 |
The root is A#, the note the chord is named after and the note your ear hears as home. Above it, the intervals in A#9 are 3, 5, b7, 9. That combination is what makes A#9 sound the way it does: the intervals decide the colour, and the root decides the pitch. On the guitar, the notes appear in the order the fingering dictates, but the set of notes never changes.
A#9 sounds rich, bluesy and full — the added 9th ({ninth}) gives the dominant 7th a wider, more colourful sound. That character comes straight from the intervals above, not from the instrument: the same notes on piano, guitar or ukulele carry the same colour, even though the voicing changes. On the guitar, the movable voicing voicing is the place to hear it in A#9.
Comparing A#9 with its closest relatives helps to fix it in your ear. In short, 9th against dominant 7th: A#9 is a dominant 7th chord with the 9th C added. The 7th (G#) still does the work; the 9th just adds colour. Play both chords slowly, one after the other, and notice which note moves. Naming that note out loud while you play is the fastest way to learn the difference. On the guitar, the movable voicing voicing is the place to hear it in A#9.
How to play A#9 on guitar
On the guitar, A#9 has 3 voicings in the data below, and each one uses the same notes — A#, D, F, G#, C — in a different place on the neck. Start with the first voicing and get it clean before you try the movable shapes further up the neck. Finger numbers below use 1 for the index finger, 2 for the middle finger, 3 for the ring finger and 4 for the little finger, and x means the string is not played.
For the movable voicing, A#9 sits in around fret 3: low E string at fret 6 (little finger); A string at fret 3 (index finger); D string open; G string at fret 3 (middle finger); B string at fret 6 (little finger); high e string at fret 4 (ring finger). The stretch is the challenge: the fretted notes span from fret 3 to fret 6, so keep your thumb low behind the neck and let your fingers reach rather than squeezing the neck. Strum or pluck it slowly first and check that every note in A#9 — A#, D, F, G#, C — sounds, with no buzz and no accidental open string.
The barre chord is the voicing to learn if you want A#9 in open position: low E string muted; A string at fret 1 (index finger); D string open; G string at fret 1 (index finger); B string at fret 1 (index finger); high e string at fret 1 (index finger). It barres across strings 4 to 6 at fret 1 with the index finger. The barre is the hard part: the index finger must press every string from 4 to 6 evenly at fret 1, so roll it slightly onto its bony side and keep it close to the fret wire. If the barre buzzes, move it a fraction closer to the fret and press from the arm, not the thumb alone. Strum or pluck it slowly first and check that every note in A#9 — A#, D, F, G#, C — sounds, with no buzz and no accidental open string.
The open position is the voicing to learn if you want A#9 in open position: low E string muted; A string at fret 1 (index finger); D string open; G string at fret 3 (ring finger); B string at fret 1 (middle finger); high e string at fret 4 (little finger). The challenge here is the muted string: 1 string is marked x, and it needs to stay silent. Let the edge of a fretting finger rest lightly on it — muting by touch, not by pressing. Strum or pluck it slowly first and check that every note in A#9 — A#, D, F, G#, C — sounds, with no buzz and no accidental open string.
Choosing between the voicings of A#9 is a musical decision, not a right-or-wrong one. The open or low-position voicing rings the most and suits strumming, while a barre or movable voicing lets you slide A#9 up the neck to any key without changing the shape. When you change chords, pick the voicing of A#9 that sits closest to the chord before it — shorter moves between shapes mean faster, cleaner changes. Practise the change into A#9 from the chord that comes before it in your song, not the chord on its own, because the move is the skill. On the guitar, start with the first voicing above and listen for the notes A#, D, F, G#, C in A#9.
A short practice routine for A#9 on the guitar: play the first voicing four times slowly, checking each note, then change to it from the chord a fourth above A# and back, four times, at a slow tempo. Then play the second voicing the same way. If a note buzzes, stop and fix the finger placement rather than playing through the buzz — clean notes at a slow tempo become clean notes at full tempo, while buzzes practised fast become habits. Use the Guitar Chord Finder to see the diagram for A#9 while you practise, and the Chord Finder to compare it with the same chord on other instruments.
Common mistakes
These are the mistakes that most often make A#9 sound wrong on the guitar, and each one has a concrete fix. Work through them one at a time rather than trying to fix everything at once.
Playing the 9th too low. C low down clashes with the root. Keep the 9th in a higher octave than the root and 3rd. On the guitar, the movable voicing voicing is the place to hear it in A#9.
Using it as a tonic. A#9 is a dominant chord. As a tonic it sounds restless; save it for the V. On the guitar, the movable voicing voicing is the place to hear it in A#9.
Barre collapsing on the high strings. In a barre voicing of A#9, the high strings are the ones that buzz first, because the index finger presses hardest near the thumb. If the top notes of A#9 sound dead, roll the barring finger slightly toward the fret and press from the arm, not from squeezing the neck. On the guitar, the movable voicing of A#9 puts those notes under your fingers in the order the fingering lists them.
Leaving out the 7th. Without G# this is an add9 chord, not a dominant 9th, and it loses its pull. The 7th is essential; the 5th is the note you can drop. On the guitar, the movable voicing of A#9 puts those notes under your fingers in the order the fingering lists them.
Where A#9 is used
A#9 is not a diatonic triad in any major or minor key, because it is an extended or altered chord, but its base triad belongs to the key of D# major, the key of F major, the key of A# major. a colour dominant that can sit on the V for a whole bar without sounding static. As a dominant-type chord it also points toward D# major, the key a perfect fourth above A#, which is the tonic it most often resolves to. That is where A#9 does its work: not as a home chord, but as a chord that creates movement and then resolves. On the guitar, the movable voicing of A#9 puts those notes under your fingers in the order the fingering lists them.
Because A#9 is an extended or altered chord, it appears in progressions as a colour or a dominant rather than as a diatonic staple. Try it in place of the plain A# triad in a progression you already know, and listen to how the extra notes change the feel — that substitution is the usual way extended chords enter real music. The Chord Progression Builder lets you try A#9 in a progression in any key and hear how it connects to the chords around it. On the guitar, the movable voicing of A#9 puts those notes under your fingers in the order the fingering lists them.
The same chord on other instruments is covered in A#9 on piano, A#9 on ukulele, A#9 on bass, and the scales that fit over it are the A# major scale and the A# minor pentatonic scale. Learning A#9 on the guitar and then checking it on another instrument is one of the best ways to fix the notes — A#, D, F, G#, C — in your memory, because the notes stay the same while everything else changes.
Practising A#9
A short worked example makes A#9 concrete. Play the four-chord progression D# – A# – Cm – G# in D# major, the key A#9 most often resolves toward: D# – A# – Cm – G#. Play each chord for one bar at a slow tempo, and listen to how A#9 sounds in that sequence — whether it feels like home, like a lift, or like a chord on its way somewhere else. Then play the same four chords in a different order, starting on A#9 itself, and notice how its character changes when it opens the progression instead of sitting inside it. On the guitar, the movable voicing of A#9 puts those notes under your fingers in the order the fingering lists them.
For a second exercise, play A#9 and then the chord a fourth above A#, back and forth, four times each. That move — a chord and the chord a fourth above it — is the most common resolution in Western music, and it is the move A#9 is built for when it acts as a dominant. Finish by playing A#9 on its own, slowly, and naming each note out loud as you play it: A#, D, F, G#, C. Naming the notes while you play them is what turns a shape into knowledge you can use in any key. Test yourself with the Practice Chord Quiz and keep time with the Metronome as the tempo rises. On the guitar, start with the first voicing above and listen for the notes A#, D, F, G#, C in A#9.
Frequently asked questions
How do you play A#9 on the guitar?
The first voicing is the movable voicing: frets 6–3–0–3–6–4, fingers 4–1–0–2–4–3, on the guitar. That voicing uses the notes A#, D, F, G#, C, and it is the one to learn first. The page above lists more voicings for A#9, so you can choose the shape nearest the chords around it.
Is A#9 hard to play on the guitar?
It depends on the voicing. The first voicing of A#9 on the guitar is the easiest starting point, and the movable voicings further up the neck are harder because they need a barre or a wider stretch. Practise the first voicing cleanly at a slow tempo before you try the others, and the harder shapes will come more easily.
What is the easiest voicing of A#9 on the guitar?
The movable voicing is the easiest voicing listed for A#9 on the guitar: frets 6–3–0–3–6–4, fingers 4–1–0–2–4–3. Learn that shape first, get every note ringing cleanly, and only then move on to the alternative voicings further up the neck.
What notes are in A#9?
A#9 contains A#, D, F, G#, C: the root A#, major 3rd D, perfect 5th F, flattened 7th G# and the 9th C. The 9th is the same pitch as the 2nd, an octave higher. On the guitar, check the first voicing above for that note.
What is the difference between A#9 and A#add9?
A#9 includes the flattened 7th G#; A#add9 does not. That 7th makes A#9 a dominant chord that wants to resolve, while the add9 is a settled tonic colour. On the guitar, check the first voicing above for that note.