The standard grips this chord is usually shown with.
Bm69 is B, D, F#, G# and C# — Bm6 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.

| B | D | F# | G# | C# |
|---|---|---|---|---|
| 1 | ♭3 | 5 | 6 | 9 |
Minor tonic — nothing in it is pulling.
Also written Bm6/9, Bmin6/9 or B-6/9. The same chord either way; which spelling you meet depends on who wrote the chart.
Bm69 in 1st inversion puts D in the bass instead of B, 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 Bm69’s 9 common shapes do this: x56677, 10-9-9-11-9-9.
Start with 7566xx — no barre and low, at the 5th fret. 1 of the 9 shapes here sits in open position. 6 of the 9 need a barre. Together they cover the neck from the 1st fret to the 14th.
| Frets | Where | Bass | Top | Hand |
|---|---|---|---|---|
| x20122 | open position | B, root position | F# | barred |
| 7566xx | 5th fret | B, root position | C# | all fretted |
| x56677 | 5th fret | D, 1st inversion | B | all fretted |
| 7x6779 | 6th fret | B, root position | C# | barred |
| 7x9799 | 7th fret | B, root position | C# | barred |
| xx9799 | 7th fret | B, root position | C# | barred |
| x99799 | 7th fret | F#, 2nd inversion | C# | barred |
| 10-9-9-11-9-9 | 9th fret | D, 1st inversion | C# | barred |
| x-14-12-13-14-x | 12th fret | B, root position | C# | all fretted |
The same notes rebuilt from scratch give 4 shell, 13 drop 2, 8 drop 3, 13 rootless and 5 open string voicings, each on its own page.
Tensions. A shell of Bm69, root, third and seventh, leaves a string free, and the tones that belong over it are the 11 (E).
How you get to it. The turn that lands on Bm69 is C#m7♭5 to F#7♭9: the ii and the V of B minor, which is where a minor tonic is usually arrived at rather than simply begun on.
In which keys. Every note of Bm69 belongs to F# minor (the iv, the subdominant) and A major (the ii, the supertonic).
Every note of Bm69 is in B dorian and B melodic minor.
Change one note of Bm69 and you have Bm6 (drop the ninth), Bm9 (the sixth becomes a flat seventh), BmMaj9 (the sixth becomes a major seventh), Bmadd9 (drop the sixth) or B69 (the minor third becomes a major third).
Bm69 is a minor chord — root, minor third, fifth. Minor chords on every root.
On Bm69’s sound and use this page follows Mark Levine, The Jazz Piano Book (Sher Music, 1989). 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.