For a dissonant edgy sound, drop the 5 and play the two definitive tones (3, b7) plus “the #9”. Notice that “sharp 9” is the very same note as “flat 3”. The distinctive major-minor harmonic tension between the natural 3 (major sound) and flat 3 (minor sound) gives this voicing some real teeth in down and dirty Blues, Rock, and Funk contexts or as a colorful V7 chord in a tonal minor context…
Use your ears and knowledge of scales and chord structure to “transpose” this voicing to all spellings in three musically-useful patterns:
- Chromatically Ascending: C > Db > D > Eb > E > F > Gb > G > Ab > A > Bb > B > C.
- Chromatically Descending: C > B > Bb > A > Ab > G > Gb > F > E > Eb > D > Db > C.
- Cycle of Dominants: C > F > Bb > Eb > Ab > Db > Gb > B > E > A > D > G > C.
Doing so helps to develop an enormous chord vocabulary, one that you will know intimately in many ways: by brain, by eye, by ear, by finger, by body, and by heart… and builds a solid foundation for fluent improvisation.