 Right, so here's another really awesome chord. I think the grooviest chord I've ever played So it's basically I guess taken from guitar players Perhaps Jimmy Hendrix would have popularized this chord the most It's actually quite easy to play on the guitar if you take E You just basically it's easier to play then probably even the major chord or the seventh chord because your hand Just stays there, you know, so it sounds like this So what are we doing here? We're taking a Seventh chord and Then adding a sharp 9 How do we get a sharp 9 now on I'm on the key of E. So what is a 9 again a 9 is a Second played one octave higher. So F sharp but now sharp 9 means take that 9 one more step even higher There it's really really weird. You're having a Major third what appears as a major chord, but then a sharp 9 which in disguise is actually a minor third Just sounds awesome together, right? And if you just play that note in between See how horrible that sounds, you know When you play it there, so it's all about where you space these notes also known as voicing, okay? So you go root. This is how I'm playing it on the piano. It's very easy for me root third seventh flat and Then the sharp 9 you may argue. Why are you not playing the B? Well, you could but then B is just an extra note. You don't really need it, you know, so I Could add it. I kind of prefer without the B. So E7 sharp 9 And this is a very nice chord if you're using it in a funky context or in a blues context, you know Pretty much that entire chord Throughout the blues you could even use it for a funky perspective, maybe Sounds really nice. So the way I use it is I just use it in very groovy music. I don't think I've used it In the sadder stuff, well, you could this is still a replacement for the dominant chord So in a sense you take He could very much resolve to the tonic which could be a Minor but in this case, we are using it in a blues II I really like the e going to the B. I Also like to kind of stack the same sharp 9 chord and then move in fifth. So you do But with the B you can even add like an augmented flavor or a sharp 5 Very bluesy See that's the sharp 9 as well as the augmented fifth I use that also at the end of a blues blues turn around, you know, so Okay, so it has all sorts of flavors, that's the sharp 9 and this is the Augmented fifth, okay, so in a nutshell this chord could either be played as a Normal e7 sharp 9 Jimi Hendrix style Perhaps play that rhythm Sounds really dirty and intense, right? Okay. The other way you could use it is with the What do you call it with the augmented sound? So that augmented with the sharp 9 lot of color So you can really go back to the tonic in a very exciting way. Maybe Play some pop stuff at that just as a connection That's the God Or just use it in a bluesy context or a funk context So this is about the 7 sharp 9 or you can do the 7 sharp 9 with the sharp 5 as well, right? So that's with the sharp 5 That's without the sharp 5. It's just a normal e7 Sharp 9 at the top and the magic of this is how there is a major 3rd and a minor 3rd working together That's usually, you know really Generally wrong, you know imagine in a band a guitarist plays a major chord and the keyboardist plays a minor chord That's actually wrong. No one would like that, but I don't know how this chord just does it, you know, okay moving on