G B (D# or Eb) F (A# or Bb)
I'd call it a G7#5#9. A saxophonist I know called it G7#9b13.
I think the issue is whether the two enharmonic spellings should be treated two options of the same class.
Let's replace the lettered tones with chord tone numbers...
G B (#5 or b13) F (#9 or b3)
...do we really intend to say chord tones 5th
& 13th
or 9th
& 3rd
are pairs of options?
I think the Bb/b3
reveals the problem treating these as optional pairs.
Notice that neither G7#5#9
nor G7#9b13
takes advantage of the supposed option of using the spelling Bb
instead of A#
. Why? Because it would contradict the main chord. It's a G
chord not a Gm
chord. If Bb
is really an enharmonic option, then Gb3
should be an acceptable symbol. That would be a chord of G Bb D
and of course the Gm
symbol is used for that. I don't think anyone would use Gb3
as a chord symbols. (Yes, the flat third is melodically appropriate for the blues scale, but we are talking about chord symbols now.)
A somewhat similar problem with clearly indicating chord tones arises with #5/b13
. Let's put the 13th
where it belongs at the 'top' of the chord...
G B (?5) F #9 b13
...using the spelling Eb
and making it a 13th
leaves the 5th
sort of unclear. Is it flat, natural, or sharp? If the 5th
isn't indicated in the symbol it's understood to be a perfect fifth.
If your intention is to add a b13
, and you don't specially indicate an alteration to the 5th
, then the presence of the D
the 5th
should be acceptable.
If, on the other hand, the intention is to have a dominant with an altered 5th
, then b13
isn't really an equivalent option, because it provides no indication for the 5th
. If you are altering the 5th
you must indicate that. #5
mean the 5th
must be altered.
So, if the saxophonist doesn't care whether a D♮
is played with the b13
then G7#9b13
would seem to be the appropriate symbol.
If the alteration of the 5th
is important, then the symbol should use an altered 5th
. The symbol G7#5#9
makes that clear.
So, it isn't really an either/or matter. Use the symbol for the intended chord.