The standard grips this chord is usually shown with.
CmMaj9 is C, Eb, G, B and D — CmMaj7 with the ninth added on top.
It sounds the same unease with more colour over it. The ninth softens the edge without resolving anything.

| C | Eb | G | B | D |
|---|---|---|---|---|
| 1 | ♭3 | 5 | 7 | 9 |
Minor tonic — melodic minor, extended.
Also written CmM9, Cm(maj9) or C-Δ9. The same chord either way; which spelling you meet depends on who wrote the chart.
CmMaj9 in root position puts C in the bass, which is the chord as it is spelled: the note it is named after underneath everything else.
6 of CmMaj9’s 8 common shapes do this: x30443, x3143x, 86x708, 86x787, 8697xx, 8-10-9-8-8-10.
Start with x3143x — no barre and down at the nut. 1 of the 8 shapes here sits in open position. 3 of the 8 need a barre. Together they cover the neck from the 1st fret to the 12th.
| Frets | Where | Bass | Top | Hand |
|---|---|---|---|---|
| x30443 | open position | C, root position | G | 1 open string |
| x3143x | 1st fret | C, root position | D | all fretted |
| 365433 | 3rd fret | G, 2nd inversion | G | barred |
| 86x708 | 6th fret | C, root position | C | 1 open string |
| 86x787 | 6th fret | C, root position | B | all fretted |
| 8697xx | 6th fret | C, root position | D | all fretted |
| 8-10-9-8-8-10 | 8th fret | C, root position | D | barred |
| 10-10-10-12-12-11 | 10th fret | D, 9th in the bass | Eb | barred |
The same notes rebuilt from scratch give 3 shell, 5 drop 2, 3 drop 3, 13 rootless and 5 open string voicings, each on its own page.
Tensions. A shell of CmMaj9, root, third and seventh, leaves a string free, and the tones that belong over it are the 11 (F) and the 13 (A).
How you get to it. The turn that lands on CmMaj9 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.
Every note of CmMaj9 is in C harmonic minor and C melodic minor.
Change one note of CmMaj9 and you have Cmaj9 (the minor third becomes a major third), Cm69 (the major seventh becomes a sixth), Cm9 (the major seventh becomes a flat seventh), CmMaj7 (drop the ninth), CmMaj11 (add the fourth) or Cmadd9 (drop the major seventh).
CmMaj9 is a minor chord — root, minor third, fifth. Minor chords on every root.
On CmMaj9’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.