Bmadd9 guitar chord
A close-position chord with the second voice from the top lowered an octave. Sits on four adjacent strings.
- Tap a note to hear it
- Arrows change position
- Fingers, notes or intervals
- Play the chord
About Bmadd9 — drop 2 voicings
Bmadd9 is B, D, F# and C# — Bm 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.
Bmadd9 notes and formula
| B | D | F# | C# |
|---|---|---|---|
| 1 | ♭3 | 5 | 9 |
Minor tonic — a triad with one colour on it.
Also written Bm(add9), Bmin(add9) or B-add9. The same chord either way; which spelling you meet depends on who wrote the chart.
How to play Bmadd9
Take the four notes stacked as close together as they go, then drop the second voice from the top an octave. The gap it opens is what makes the chord sound like a chord rather than a cluster.
It lands on four adjacent strings, which is why it is the workhorse voicing on guitar.
Bmadd9 has 12 of them, on the top four strings, the bottom four strings and the middle four strings, from the 2nd fret up to the 11th — every inversion the chord has: B in the bass, D in the bass, F# in the bass and C# in the bass. The one to learn first is the D shape at the 2nd fret, which is the easiest grip here.
4 of them sit on the top four strings, 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 x5442x — no barre and down at the nut. None of the shapes for Bmadd9 uses an open string, so every one of them is movable; the lowest sits at the 2nd fret. 2 of the 7 need a barre. Together they cover the neck from the 2nd fret to the 14th.
| Frets | Where | Bass | Top | Hand |
|---|---|---|---|---|
| x5442x | 2nd fret | D, 1st inversion | C# | all fretted |
| 75067x | 5th fret | B, root position | F# | 1 open string |
| 799779 | 7th fret | B, root position | C# | barred |
| xx9779 | 7th fret | B, root position | C# | all fretted |
| x-x-12-11-12-9 | 9th fret | D, 1st inversion | C# | all fretted |
| x-14-12-11-14-x | 11th fret | B, root position | C# | all fretted |
| x-14-12-x-14-14 | 12th fret | B, root position | F# | barred |
The same notes rebuilt from scratch give 8 drop 3 and 2 open string voicings, each on its own page.
How to use Bmadd9
How you get to it. The turn that lands on Bmadd9 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 Bmadd9 belongs to D major (the vi, the submediant), F# minor (the iv, the subdominant), A major (the ii, the supertonic) and B minor (the i, the tonic).
What to play over Bmadd9
Every note of Bmadd9 is in B dorian, B natural minor, B harmonic minor and B melodic minor.
Chords near Bmadd9
Change one note of Bmadd9 and you have Bm (drop the ninth), Bsus2 (drop the minor third), Bsus2sus4 (the minor third becomes a fourth), Bm6 (the ninth becomes a sixth), Bm69 (add the sixth) or Bm7 (the ninth becomes a flat seventh).
Bmadd9 is a minor chord — root, minor third, fifth. Minor chords on every root.
On Bmadd9’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.