Bbmadd9 is Bb, Db, F and C — Bbm 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.

| Bb | Db | F | C |
|---|---|---|---|
| 1 | ♭3 | 5 | 9 |
Minor tonic — a triad with one colour on it.
Also written Bbm(add9), Bbmin(add9) or Bb-add9. The same chord either way; which spelling you meet depends on who wrote the chart.
Bbmadd9 in 1st inversion puts Db 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.
2 of Bbmadd9’s 7 common shapes do this: x4331x, x-x-11-10-11-8.
Start with x4331x — no barre and down at the nut. None of the shapes for Bbmadd9 uses an open string, so every one of them is movable; the lowest sits at the 1st fret. 2 of the 7 need a barre. Together they cover the neck from the 1st fret to the 13th.
| Frets | Where | Bass | Top | Hand |
|---|---|---|---|---|
| x4331x | 1st fret | Db, 1st inversion | C | all fretted |
| 64x56x | 4th fret | Bb, root position | F | all fretted |
| 688668 | 6th fret | Bb, root position | C | barred |
| xx8668 | 6th fret | Bb, root position | C | all fretted |
| x-x-11-10-11-8 | 8th fret | Db, 1st inversion | C | all fretted |
| x-13-11-10-13-x | 10th fret | Bb, root position | C | all fretted |
| x-13-11-x-13-13 | 11th fret | Bb, root position | F | barred |
The same notes rebuilt from scratch give 13 drop 2 and 9 drop 3 voicings, each on its own page.
How you get to it. The turn that lands on Bbmadd9 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 Bbmadd9 belongs to C# major (the vi, the submediant), F minor (the iv, the subdominant), Ab major (the ii, the supertonic) and Bb minor (the i, the tonic).
Every note of Bbmadd9 is in Bb dorian, Bb natural minor, Bb harmonic minor and Bb melodic minor.
Change one note of Bbmadd9 and you have Bbm (drop the ninth), Bbsus2 (drop the minor third), Bbsus2sus4 (the minor third becomes a fourth), Bbm6 (the ninth becomes a sixth), Bbm69 (add the sixth) or Bbm7 (the ninth becomes a flat seventh).
Bbmadd9 is a minor chord — root, minor third, fifth. Minor chords on every root.
On Bbmadd9’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.
Shows each chord the way this style would voice it, and marks which of its alternatives belong to the idiom.