The third voice from the top lowered an octave. The dropped voice becomes the bass, which is why a string is skipped.
Amadd9 is A, C, E and B — Am with the ninth added, and no seventh.
It sounds sharp-edged. The ninth grinding a whole step under the minor third is the edge an m9 softens.

| A | C | E | B |
|---|---|---|---|
| 1 | ♭3 | 5 | 9 |
Minor tonic — a triad with one colour on it.
Also written Am(add9), Amin(add9) or A-add9. The same chord either way; which spelling you meet depends on who wrote the chart.
The same operation one voice further down: the third voice from the top falls an octave and becomes the bass.
That leaves a bigger hole under the top three notes, so a string gets skipped: the muted string in the middle is the shape, not a mistake.
Amadd9 has 9 of them, on strings 5-3-2-1 and strings 6-4-3-2, from open position up to the 12th — every inversion the chord has: A in the bass, C in the bass, E in the bass and B in the bass. The one to learn first is the B shape at the nut.
5 of them sit on strings 5-3-2-1, so you can run the inversions up one set without changing strings — which is the whole reason to learn them as a family rather than as separate grips.
Start with x02410 — no barre and 2 open strings. 1 of the 9 shapes here sits in open position. 2 of the 9 need a barre. Together they cover the neck from the 1st fret to the 15th.
| Frets | Where | Bass | Top | Hand |
|---|---|---|---|---|
| x02410 | open position | A, root position | E | 2 open strings |
| 53x45x | 3rd fret | A, root position | E | all fretted |
| 577557 | 5th fret | A, root position | B | barred |
| xx7557 | 5th fret | A, root position | B | all fretted |
| xx7908 | 7th fret | A, root position | C | 1 open string |
| x-x-10-9-10-7 | 7th fret | C, 1st inversion | B | all fretted |
| x-12-10-9-12-x | 9th fret | A, root position | B | all fretted |
| x-12-10-x-12-12 | 10th fret | A, root position | E | barred |
| x-15-14-14-12-x | 12th fret | C, 1st inversion | B | all fretted |
The same notes rebuilt from scratch give 13 drop 2 and 6 open string voicings, each on its own page.
How you get to it. The turn that lands on Amadd9 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 Amadd9 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 Amadd9 is in A dorian, A natural minor, A harmonic minor and A melodic minor.
Change one note of Amadd9 and you have Am (drop the ninth), Asus2 (drop the minor third), Asus2sus4 (the minor third becomes a fourth), Am6 (the ninth becomes a sixth), Am69 (add the sixth) or Am7 (the ninth becomes a flat seventh).
Amadd9 is a minor chord — root, minor third, fifth. Minor chords on every root.
On Amadd9’s sound and use this page follows Robert Rawlins & Nor Eddine Bahha, Jazzology (Hal Leonard, 2005). 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.