The standard grips this chord is usually shown with.
AbmMaj9 is Ab, Cb, Eb, G and Bb — AbmMaj7 with the ninth added on top.
It sounds the same unease with more colour over it. The ninth softens the edge without resolving anything.

| Ab | Cb | Eb | G | Bb |
|---|---|---|---|---|
| 1 | ♭3 | 5 | 7 | 9 |
Minor tonic — melodic minor, extended.
Also written AbmM9, Abm(maj9) or Ab-Δ9. The same chord either way; which spelling you meet depends on who wrote the chart.
AbmMaj9 in root position puts Ab in the bass, which is the chord as it is spelled: the note it is named after underneath everything else.
5 of AbmMaj9’s 7 common shapes do this: 42x343, 4x5304, 4253xx, 465446, x-11-9-12-11-x.
Start with 4253xx — no barre and down at the nut. 1 of the 7 shapes here sits in open position. 3 of the 7 need a barre. Together they cover the neck from the 2nd fret to the 14th.
| Frets | Where | Bass | Top | Hand |
|---|---|---|---|---|
| 42x343 | 2nd fret | Ab, root position | G | all fretted |
| 4x5304 | open position | Ab, root position | Ab | 1 open string |
| 4253xx | 2nd fret | Ab, root position | Bb | all fretted |
| 465446 | 4th fret | Ab, root position | Bb | barred |
| 666887 | 6th fret | Bb, 9th in the bass | Cb | barred |
| x-11-9-12-11-x | 9th fret | Ab, root position | Bb | all fretted |
| 11-14-13-12-11-11 | 11th fret | Eb, 2nd inversion | Eb | barred |
The same notes rebuilt from scratch give 3 shell, 7 drop 2, 6 drop 3, 14 rootless and 1 open string voicings, each on its own page.
Tensions. A shell of AbmMaj9, root, third and seventh, leaves a string free, and the tones that belong over it are the 11 (Db) and the 13 (F).
How you get to it. The turn that lands on AbmMaj9 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.
Every note of AbmMaj9 is in Ab harmonic minor and Ab melodic minor.
Change one note of AbmMaj9 and you have Abmaj9 (the minor third becomes a major third), Abm69 (the major seventh becomes a sixth), Abm9 (the major seventh becomes a flat seventh), AbmMaj7 (drop the ninth), AbmMaj11 (add the fourth) or Abmadd9 (drop the major seventh).
AbmMaj9 is a minor chord — root, minor third, fifth. Minor chords on every root.
On AbmMaj9’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.