The standard grips this chord is usually shown with.
EbmMaj9 is Eb, Gb, Bb, D and F — EbmMaj7 with the ninth added on top.
It sounds the same unease with more colour over it. The ninth softens the edge without resolving anything.

| Eb | Gb | Bb | D | F |
|---|---|---|---|---|
| 1 | ♭3 | 5 | 7 | 9 |
Minor tonic — melodic minor, extended.
Also written EbmM9, Ebm(maj9) or Eb-Δ9. The same chord either way; which spelling you meet depends on who wrote the chart.
EbmMaj9 in root position puts Eb in the bass, which is the chord as it is spelled: the note it is named after underneath everything else.
4 of EbmMaj9’s 6 common shapes do this: x6476x, 11-9-x-10-11-10, 11-9-12-10-x-x, 11-13-12-11-11-13.
Start with x6476x — no barre and low, at the 4th fret. None of the shapes for EbmMaj9 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 13th.
| Frets | Where | Bass | Top | Hand |
|---|---|---|---|---|
| 111332 | 1st fret | F, 9th in the bass | Gb | barred |
| x6476x | 4th fret | Eb, root position | F | all fretted |
| 698766 | 6th fret | Bb, 2nd inversion | Bb | barred |
| 11-9-x-10-11-10 | 9th fret | Eb, root position | D | all fretted |
| 11-9-12-10-x-x | 9th fret | Eb, root position | F | all fretted |
| 11-13-12-11-11-13 | 11th fret | Eb, root position | F | barred |
The same notes rebuilt from scratch give 3 shell, 7 drop 2, 5 drop 3 and 13 rootless voicings, each on its own page.
Tensions. A shell of EbmMaj9, root, third and seventh, leaves a string free, and the tones that belong over it are the 11 (Ab) and the 13 (C).
How you get to it. The turn that lands on EbmMaj9 is Fm7♭5 to Bb7♭9: the ii and the V of Eb minor, which is where a minor tonic is usually arrived at rather than simply begun on.
Every note of EbmMaj9 is in Eb harmonic minor and Eb melodic minor.
Change one note of EbmMaj9 and you have Ebmaj9 (the minor third becomes a major third), Ebm69 (the major seventh becomes a sixth), Ebm9 (the major seventh becomes a flat seventh), EbmMaj7 (drop the ninth), EbmMaj11 (add the fourth) or Ebmadd9 (drop the major seventh).
EbmMaj9 is a minor chord — root, minor third, fifth. Minor chords on every root.
On EbmMaj9’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.