BmMaj9 guitar chord
An open string left ringing against a fretted grip. Because it costs no finger, it sounds a note the closed shape has none left for -- a tension on top, or a pedal root underneath. Either a familiar grip with open strings added, or a shape so sparse the open strings carry the chord. These belong to their key rather than to a shape, so D, A, G and E have many and Eb a handful.
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- Fingers, notes or intervals
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About BmMaj9 — open string voicings
BmMaj9 is B, D, F#, A# and C# — BmMaj7 with the ninth added on top.
It sounds the same unease with more colour over it. The ninth softens the edge without resolving anything.
BmMaj9 notes and formula
| B | D | F# | A# | C# |
|---|---|---|---|---|
| 1 | ♭3 | 5 | 7 | 9 |
Minor tonic — melodic minor, extended.
Also written BmM9, Bm(maj9) or B-Δ9. The same chord either way; which spelling you meet depends on who wrote the chart.
How to play BmMaj9
An open string left ringing against a fretted grip. It costs no finger, so it can sound a note the closed shape has none left for: a tension on top, or a pedal root underneath.
These belong to their key rather than to a shape: they cannot be moved up the neck. D, A, G and E have many; E♭ has a handful.
BmMaj9 has 4 of them, on strings 5-4-3-2-1, strings 6-4-3-2-1 and the top four strings, from the 2nd fret up to the 6th — every inversion the chord has: D in the bass, A# 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.
Start with 75860x — no barre and 1 open string. 1 of the 7 shapes here sits in open position. 4 of the 7 need a barre. Together they cover the neck from the 2nd fret to the 15th.
| Frets | Where | Bass | Top | Hand |
|---|---|---|---|---|
| x20322 | open position | B, root position | F# | barred |
| 254322 | 2nd fret | F#, 2nd inversion | F# | barred |
| 75860x | 5th fret | B, root position | C# | 1 open string |
| 75x676 | 5th fret | B, root position | A# | all fretted |
| 798779 | 7th fret | B, root position | C# | barred |
| 9-9-9-11-11-10 | 9th fret | C#, 9th in the bass | D | barred |
| x-14-12-15-14-x | 12th fret | B, root position | C# | all fretted |
The same notes rebuilt from scratch give 5 shell, 10 drop 2, 6 drop 3 and 13 rootless voicings, each on its own page.
Tensions. A shell of BmMaj9, root, third and seventh, leaves a string free, and the tones that belong over it are the 11 (E) and the 13 (G#).
How to use BmMaj9
How you get to it. The turn that lands on BmMaj9 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.
What to play over BmMaj9
Every note of BmMaj9 is in B harmonic minor and B melodic minor.
Chords near BmMaj9
Change one note of BmMaj9 and you have Bmaj9 (the minor third becomes a major third), Bm69 (the major seventh becomes a sixth), Bm9 (the major seventh becomes a flat seventh), BmMaj7 (drop the ninth), BmMaj11 (add the fourth) or Bmadd9 (drop the major seventh).
BmMaj9 is a minor chord — root, minor third, fifth. Minor chords on every root.
On BmMaj9’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.