The standard grips this chord is usually shown with.
Bbm69 is Bb, Db, F, G and C — Bbm6 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.
Minor tonic — nothing in it is pulling.

| Bb | Db | F | G | C |
|---|---|---|---|---|
| 1 | ♭3 | 5 | 6 | 9 |
Also written Bbm6/9, Bbmin6/9 or Bb-6/9. The same chord either way; which spelling you meet depends on who wrote the chart.
Bbm69 in 2nd inversion puts F in the bass instead of Bb, the 5th 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 Bbm69’s 8 common shapes does this:x88688
Play Bbm69 as a shell — root, third and seventh — and the spare string takes the 11 (Eb).
All 8 common shapes as fret numbers, lowest string first. Hover or tap one to see it drawn.
How you get to it. The turn that lands on Bbm69 is Cm7♭5 to F7♭9: the ii and the V of Bb minor, which is where a minor tonic is usually arrived at rather than simply begun on.
In which keys. Every note of Bbm69 belongs to F minor (the iv, the subdominant) and Ab major (the ii, the supertonic).
Every note of Bbm69 is in Bb dorian and Bb melodic minor.
Change one note of Bbm69 and you have Bbm6 (drop the ninth), Bbm9 (the sixth becomes the flat seventh), BbmMaj9 (the sixth becomes the major seventh), Bbmadd9 (drop the sixth) or Bb69 (the minor third becomes the major third).
Bbm69 is a minor chord — root, minor third, fifth. Minor chords on every root.
The common shapes and the derived voicings come from different places, and both are explained in how this site is built.
Shows each chord the way this style would voice it, and marks which of its alternatives belong to the idiom.