Bb9 guitar chord
The standard grips this chord is usually shown with.
- Tap a note to hear it
- Arrows change position
- Fingers, notes or intervals
- Play the chord
About Bb9 — 1st inversion
Bb9 is Bb, D, F, Ab and C — Bb7 with the ninth stacked on top.
It sounds bright and full, still clearly pulling. The ninth adds height without softening the tritone underneath it, which is why funk and soul comp on this rather than on a plain 7.
Bb9 notes and formula
| Bb | D | F | Ab | C |
|---|---|---|---|---|
| 1 | 3 | 5 | ♭7 | 9 |
Dominant — the same pull as a 7, with more colour.
Also written Bbdom9 or Bb dominant 9. The same chord either way; which spelling you meet depends on who wrote the chart.
How to play Bb9
Bb9 in 1st inversion puts D in the bass instead of Bb, 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.
One of Bb9’s 9 common shapes does this: 10-x-8-10-9-8.
Start with 6565xx — 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 13th.
| Frets | Where | Bass | Top | Hand |
|---|---|---|---|---|
| x10111 | open position | Bb, root position | F | barred |
| x33334 | 3rd fret | C, 9th in the bass | Ab | barred |
| 633534 | 3rd fret | Bb, root position | Ab | barred |
| 6565xx | 5th fret | Bb, root position | C | all fretted |
| 686568 | 5th fret | Bb, root position | C | barred |
| 686768 | 6th fret | Bb, root position | C | barred |
| xx8798 | 7th fret | Bb, root position | C | all fretted |
| 10-x-8-10-9-8 | 8th fret | D, 1st inversion | C | all fretted |
| x-13-12-13-13-13 | 12th fret | Bb, root position | F | barred |
The same notes rebuilt from scratch give 5 shell, 13 drop 2, 8 drop 3, 15 rootless and 4 open string voicings, each on its own page.
Tensions. A shell of Bb9, root, third and seventh, leaves a string free, and the tones that belong over it are the #11 (E), the b13 (Gb) and the 13 (G).
How to use Bb9
Bb9 is the V of Eb, and that is where it goes if it goes anywhere: the third and the flat seventh are a tritone apart, and both resolve by a semitone into Eb.
Voice by voice, Bb9 → Eb. 2 voices move by a semitone, and one note is common to both chords.
| In Bb9 | Moves | In Eb |
|---|---|---|
| Bb, the root | stays where it is | Bb, the fifth |
| D, the major third | rises a semitone | Eb, the root |
| F, the fifth | falls a whole tone | Eb, the root |
| Ab, the flat seventh | falls a semitone | G, the major third |
| C, the ninth | falls a whole tone | Bb, the fifth |
In which keys. Every note of Bb9 belongs to C minor (the ♭VII) and Eb major (the V, the dominant).
What to play over Bb9
Every note of Bb9 is in Bb mixolydian and Bb lydian dominant.
Chords near Bb9
Change one note of Bb9 and you have Bbmaj9 (the flat seventh becomes a major seventh), Bbm9 (the major third becomes a minor third), Bbadd9 (drop the flat seventh), Bb69 (the flat seventh becomes a sixth), Bb7 (drop the ninth) or Bb9b5 (the fifth becomes a flat fifth).
Bb9 is a dominant chord — root, major third, fifth, minor seventh. Dominant seventh chords on every root.
On Bb9’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.