The standard grips this chord is usually shown with.
Fmaj9 is F, A, C, E and G — Fmaj7 with the ninth stacked above it.
It sounds a maj7 with more air in it. The ninth argues with nothing here, so it works anywhere a maj7 does.
Tonic — an extended resting chord.

| F | A | C | E | G |
|---|---|---|---|---|
| 1 | 3 | 5 | 7 | 9 |
Also written FM9, FΔ9, Fma9 or F major 9. The same chord either way; which spelling you meet depends on who wrote the chart.
Fmaj9 in 2nd inversion puts C in the bass instead of F, 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.
2 of Fmaj9’s 13 common shapes do this:88798xx-x-10-12-10-12
Play Fmaj9 as a shell — root, third and seventh — and the spare string takes the #11 (B) or the 13 (D).
All 13 common shapes as fret numbers, lowest string first. Hover or tap one to see it drawn.
How you get to it. The turn that lands on Fmaj9 is Gm7 to C7 — the ii and the V of F — and C7 shares its third and seventh with Gm7, so the hand barely moves between them.
In which keys. Every note of Fmaj9 belongs to C major (the IV, the subdominant), D minor (the ♭III), F major (the I, the tonic) and A minor (the ♭VI).
Every note of Fmaj9 is in F major and F lydian.
Change one note of Fmaj9 and you have Fmaj7 (drop the ninth), Fmaj11 (add the eleventh), Fmaj13 (add the thirteenth), FmMaj9 (the major third becomes the minor third), Fadd9 (drop the major seventh) or F69 (the major seventh becomes the sixth).
Fmaj9 is a major chord — root, major third, fifth. Major chords on every root.
The common shapes and the derived voicings come from different places, and both are explained in how this site is built.
Shows each chord the way this style would voice it, and marks which of its alternatives belong to the idiom.