The Holy Spirit has come-Dohyeon Kim

These days, add9 is seen a lot compared to old days when add9 was seen much more. Now, beyond add9, there are many tention sounds like b9, 13 and so on. I guess the capacity of the performer has increased enormously. The chords reflects the composers's will. They play according to the chords's signature, but who's really playing is performer, not the composers. 

If the composer gives too much information, the performer might feel frustrated. Even with the same chords, the color of the sound changes depending on how you are going to play. So the composer shouldn't too much interfere too much, right? 

So the composers should give the minimum amount of information and the performer should interpret it at his or her own discretion.

But, 

The composers can proudly ask for what they want and where their intention should be reflected. Then you can write down the tension note in detail. 

Please put in B9 and #11 in this section. That's what it means. So if tension is written on your chord, do not omit it, but try to find it slowly and practice enough to make that sound. 

#9, b5 makes a really cool sound, but if you just play E7, F#, it sounds a bit weird. So the composer wrote down some of the tension in the lead sheet. I have a lot of tension in my sheet and I am trying to explain how I interpret it. For those of you who used to play F#7 instead of F#7(b5), more focus. 

B5 is to make the fifth note flat from the root. It's not hard to try. When you think of F#(b5), think of "Fa#, Ra#, Do#, Mi# of F#7 chord. And b5 is from F# to 5th note, Do. Then it goes "Fa#, Ra#, Do, Mi"

How you play b5 determines the refinement of the song. 

Memorize the E7#9 chord on the sheet music