The e-seventh-sharp-nine-chord – or e7#9 – or Hendrix chord

Here is a really cool chord. It is fruity, zesty and reminds me of when you first throw a sausage on a hot plate – fizz and sizzle.

It is one of these chords with a real unique personality. I find it easily recognisable - it has strong character.

Technically, the sharp ninth is a minor third – and the minor 3rd is a #9th – they are one and the same note.

So this is the unbreakable rule broken. Theoretically we are using a major and a minor third in the same chord. This is what gives it its tang, its dissonance. It almost sounds like a dischord – it is the conflict between the maj and min thirds

And this harmony, the music of the devil if you like, is fundamental to the blues sound. Guitarists often bend the minor up to the major third – and the significance is that they are actually going for a note in between – the blue note.

This conflict causing tension is the flavour of the genre. It is they grey area that generates the interest.

The archetypal usage of the chord has got to be Jimi Hendrix in his song ‘foxy lady’. Try imagining this song (or find a recording if you have not heard it) and picture the chord in your head - it is a way to develop your ear, formally called aural training.

Stylistically, it is commonly found in Rock or Jazz as a passing or dominant chord, but rarely used in folk, country or roots music.

Now if you omit playing the high and low e-strings and only play the inner four strings it becomes a movable shape. You have to be more accurate with your rhythm hand, missing the high and low e strings as you strum, but the advantage is can move it to any place on the finger board and it will be the same chord, taking its root name from the note on the a-string .

So listen, play and have fun with this little enigma, with practice it will be a breath of fresh air in your repertoire.