The standard grips this chord is usually shown with.
BbmMaj9 is Bb, Db, F, A and C — BbmMaj7 with the ninth added on top.
It sounds the same unease with more colour over it. The ninth softens the edge without resolving anything.

| Bb | Db | F | A | C |
|---|---|---|---|---|
| 1 | ♭3 | 5 | 7 | 9 |
Minor tonic — melodic minor, extended.
Also written BbmM9, Bbm(maj9) or Bb-Δ9. The same chord either way; which spelling you meet depends on who wrote the chart.
BbmMaj9 in 9th in bass puts C in the bass instead of Bb, the 9th 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 BbmMaj9’s 6 common shapes does this: 8-8-8-10-10-9.
Start with 6475xx — no barre and low, at the 4th fret. None of the shapes for BbmMaj9 uses an open string, so every one of them is movable; the lowest sits at the 1st fret. 3 of the 6 need a barre. Together they cover the neck from the 1st fret to the 14th.
| Frets | Where | Bass | Top | Hand |
|---|---|---|---|---|
| 143211 | 1st fret | F, 2nd inversion | F | barred |
| 64x565 | 4th fret | Bb, root position | A | all fretted |
| 6475xx | 4th fret | Bb, root position | C | all fretted |
| 687668 | 6th fret | Bb, root position | C | barred |
| 8-8-8-10-10-9 | 8th fret | C, 9th in the bass | Db | barred |
| x-13-11-14-13-x | 11th fret | Bb, root position | C | all fretted |
The same notes rebuilt from scratch give 3 shell, 7 drop 2, 5 drop 3 and 14 rootless voicings, each on its own page.
Tensions. A shell of BbmMaj9, root, third and seventh, leaves a string free, and the tones that belong over it are the 11 (Eb) and the 13 (G).
How you get to it. The turn that lands on BbmMaj9 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.
Every note of BbmMaj9 is in Bb harmonic minor and Bb melodic minor.
Change one note of BbmMaj9 and you have Bbmaj9 (the minor third becomes a major third), Bbm69 (the major seventh becomes a sixth), Bbm9 (the major seventh becomes a flat seventh), BbmMaj7 (drop the ninth), BbmMaj11 (add the fourth) or Bbmadd9 (drop the major seventh).
BbmMaj9 is a minor chord — root, minor third, fifth. Minor chords on every root.
On BbmMaj9’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.
Shows each chord the way this style would voice it, and marks which of its alternatives belong to the idiom.