The standard grips this chord is usually shown with.
Abm69 is Ab, Cb, Eb, F and Bb — Abm6 with the ninth added as well.
It sounds cool and entirely at rest. No seventh, so nothing leans: a common last chord of a minor tune.
Minor tonic — nothing in it is pulling.

| Ab | Cb | Eb | F | Bb |
|---|---|---|---|---|
| 1 | ♭3 | 5 | 6 | 9 |
Also written Abm6/9, Abmin6/9 or Ab-6/9. The same chord either way; which spelling you meet depends on who wrote the chart.
Abm69 in 1st inversion puts Cb in the bass instead of Ab, 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.
2 of Abm69’s 8 common shapes do this:x23344766866
Play Abm69 as a shell — root, third and seventh — and the spare string takes the 11 (Db).
All 8 common shapes as fret numbers, lowest string first. Hover or tap one to see it drawn.
How you get to it. The turn that lands on Abm69 is Bbm7♭5 to Eb7♭9: the ii and the V of Ab minor, which is where a minor tonic is usually arrived at rather than simply begun on.
In which keys. Every note of Abm69 belongs to Eb minor (the iv, the subdominant) and F# major (the ii, the supertonic).
Every note of Abm69 is in Ab dorian and Ab melodic minor.
Change one note of Abm69 and you have Abm6 (drop the ninth), Abm9 (the sixth becomes the flat seventh), AbmMaj9 (the sixth becomes the major seventh), Abmadd9 (drop the sixth) or Ab69 (the minor third becomes the major third).
Abm69 is a minor chord — root, minor third, fifth. Minor chords on every root.
The common shapes and the derived voicings come from different places, and both are explained in how this site is built.
Shows each chord the way this style would voice it, and marks which of its alternatives belong to the idiom.