The standard grips this chord is usually shown with.
Am9 is A, C, E, G and B — Am7 with the ninth stacked above it.
It sounds warm, and considerably richer than an m7. The standard voicing for a ii chord once the plain one has been played enough.

| A | C | E | G | B |
|---|---|---|---|---|
| 1 | ♭3 | 5 | ♭7 | 9 |
Pre-dominant or minor tonic — an m7’s job with more colour.
Also written Amin9, A-9 or A minor 9. The same chord either way; which spelling you meet depends on who wrote the chart.
Am9 in 1st inversion puts C in the bass instead of A, the 3rd of the chord. The notes are the same; what changes is what the bass line does, which is most of why you would reach for it — it lets the lowest voice move by step where the root would have jumped.
3 of Am9’s 9 common shapes do this: x35455, 809080, 8-10-9-9-10-8.
Start with x02413 — no barre and 1 open string. 1 of the 9 shapes here sits in open position. 4 of the 9 need a barre. Together they cover the neck from the 1st fret to the 12th.
| Frets | Where | Bass | Top | Hand |
|---|---|---|---|---|
| x22213 | 1st fret | B, 9th in the bass | G | barred |
| x02413 | open position | A, root position | G | 1 open string |
| xx2413 | 1st fret | E, 2nd inversion | G | all fretted |
| 53x453 | 3rd fret | A, root position | G | all fretted |
| x35455 | 3rd fret | C, 1st inversion | A | barred |
| 575557 | 5th fret | A, root position | B | barred |
| 809080 | 8th fret | C, 1st inversion | G | 3 open strings |
| 8-10-9-9-10-8 | 8th fret | C, 1st inversion | C | all fretted |
| x-12-10-12-12-x | 10th fret | A, root position | B | barred |
The same notes rebuilt from scratch give 3 shell, 12 drop 2, 9 drop 3, 14 rootless and 6 open string voicings, each on its own page.
Tensions. A shell of Am9, root, third and seventh, leaves a string free, and the tones that belong over it are the 11 (D) and the 13 (F#).
How you get to it. The turn that lands on Am9 is Bm7♭5 to E7♭9: the ii and the V of A minor, which is where a minor tonic is usually arrived at rather than simply begun on.
In which keys. Every note of Am9 belongs to C major (the vi, the submediant), E minor (the iv, the subdominant), G major (the ii, the supertonic) and A minor (the i, the tonic).
Every note of Am9 is in A dorian and A natural minor.
Change one note of Am9 and you have Am69 (the flat seventh becomes a sixth), Am7 (drop the ninth), Am11 (add the fourth), AmMaj9 (the flat seventh becomes a major seventh), Amadd9 (drop the flat seventh) or A9 (the minor third becomes a major third).
Am9 is a minor chord — root, minor third, fifth. Minor chords on every root.
On Am9’s sound and use this page follows Mark Levine, The Jazz Theory Book (Sher Music, 1995). The shapes and the derived voicings come from different places, and both are explained in where the chords and the theory come from.
Shows each chord the way this style would voice it, and marks which of its alternatives belong to the idiom.