The standard grips this chord is usually shown with.
Cm69 is C, Eb, G, A and D — Cm6 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.

| C | Eb | G | A | D |
|---|---|---|---|---|
| 1 | ♭3 | 5 | 6 | 9 |
Minor tonic — nothing in it is pulling.
Also written Cm6/9, Cmin6/9 or C-6/9. The same chord either way; which spelling you meet depends on who wrote the chart.
Cm69 in 2nd inversion puts G in the bass instead of C, 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 Cm69’s 10 common shapes does this: x-10-10-8-10-10.
Start with x30045 — no barre and 2 open strings. 1 of the 10 shapes here sits in open position. 5 of the 10 need a barre. Together they cover the neck from the 1st fret to the 15th.
| Frets | Where | Bass | Top | Hand |
|---|---|---|---|---|
| x3123x | 1st fret | C, root position | D | all fretted |
| x30045 | open position | C, root position | A | 2 open strings |
| 8677xx | 6th fret | C, root position | D | all fretted |
| x67788 | 6th fret | Eb, 1st inversion | C | all fretted |
| 8-x-7-8-8-10 | 7th fret | C, root position | D | barred |
| 8-x-10-8-10-10 | 8th fret | C, root position | D | barred |
| x-x-10-8-10-10 | 8th fret | C, root position | D | barred |
| x-10-10-8-10-10 | 8th fret | G, 2nd inversion | D | barred |
| 11-10-10-12-10-10 | 10th fret | Eb, 1st inversion | D | barred |
| x-15-13-14-15-x | 13th fret | C, root position | D | all fretted |
The same notes rebuilt from scratch give 4 shell, 13 drop 2, 8 drop 3, 14 rootless and 4 open string voicings, each on its own page.
Tensions. A shell of Cm69, root, third and seventh, leaves a string free, and the tones that belong over it are the 11 (F).
How you get to it. The turn that lands on Cm69 is Dm7♭5 to G7♭9: the ii and the V of C minor, which is where a minor tonic is usually arrived at rather than simply begun on.
In which keys. Every note of Cm69 belongs to G minor (the iv, the subdominant) and Bb major (the ii, the supertonic).
Every note of Cm69 is in C dorian and C melodic minor.
Change one note of Cm69 and you have Cm6 (drop the ninth), Cm9 (the sixth becomes a flat seventh), CmMaj9 (the sixth becomes a major seventh), Cmadd9 (drop the sixth) or C69 (the minor third becomes a major third).
Cm69 is a minor chord — root, minor third, fifth. Minor chords on every root.
On Cm69’s sound and use this page follows Mark Levine, The Jazz Piano Book (Sher Music, 1989). 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.