- ii7B♭m7
- V9E♭9
- Imaj7A♭maj7
E♭9 is the chord that wants to resolve, so ending the loop on it hands straight back to the top.
The E♭9 chord is a dominant ninth chord built on the root note E♭. Its notes are E♭, G, B♭, D♭ and F. It's enharmonically the same chord as D♯9.
Dominant ninth chords are a dominant seventh with extra shine. The ninth on top softens the bite of the tritone below it, which is why funk, soul and blues rhythm guitar lives on this chord.

Switch to the interactive diagram to hear the chord, change voicing and swap finger numbers for note names.
To play E♭9 on piano, place your right hand with your thumb on E♭, index finger on G, middle finger on B♭, ring finger on D♭ and little finger on F. Press the keys together and listen for an even sound. On the keyboard E♭, B♭ and D♭ are black keys and G and F are white. The thumb starts on a black key, so slide the whole hand a little further in, towards the fallboard. Practice moving in and out of the chord slowly, then bring in a metronome.

Switch to the interactive diagram to hear the chord, change voicing and swap finger numbers for note names.
On guitar, E♭9 is commonly played with the voicing shown above. The fretted notes sit between frets 5 and 6. Don't play string 6.
E♭ · G · B♭ · D♭ · F
Try E♭9 on the virtual piano
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Also known as D♯9
| Degree | Interval | Semitones | Note | Hear |
|---|---|---|---|---|
| 1 | Root | 0 | E♭(Eb) | |
| 3 | Major third | 4 | G | |
| 5 | Perfect fifth | 7 | B♭(Bb) | |
| ♭7 | Minor seventh | 10 | D♭(Db) | |
| 9 | Major ninth | 14 | F |
The E♭9 chord is built from a root, a major third, a perfect fifth, a minor seventh and a major ninth. Start at the root E♭ and stack the intervals to get the whole chord: E♭, G, B♭, D♭ and F. The same formula gives you the chord in any other key.
Dominant ninth chords take the place of a plain dominant seventh in blues, funk, soul and jazz. As the V9 they resolve just like a V7 does, only with more colour on the way.
E♭9 is E♭7 with a major ninth on top, so it keeps the dominant pull of the tritone. It differs from E♭maj9 in the seventh, minor rather than major, and from E♭add9, which has no seventh at all. In E♭7♭9 and E♭7♯9 the same ninth is moved a half step down or up.
A dominant chord wants to resolve. Its home is the V of a major key - and the I of a blues, where the pull never lets up.
E♭9 is the chord that wants to resolve, so ending the loop on it hands straight back to the top.
The twelve-bar shape boiled down. The tonic is itself a dominant seventh, which is what makes it a blues.
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