The standard grips this chord is usually shown with.
FmMaj9 is F, Ab, C, E and G — FmMaj7 with the ninth added on top.
It sounds the same unease with more colour over it. The ninth softens the edge without resolving anything.

| F | Ab | C | E | G |
|---|---|---|---|---|
| 1 | ♭3 | 5 | 7 | 9 |
Minor tonic — melodic minor, extended.
Also written FmM9, Fm(maj9) or F-Δ9. The same chord either way; which spelling you meet depends on who wrote the chart.
FmMaj9 in root position puts F in the bass, which is the chord as it is spelled: the note it is named after underneath everything else.
7 of FmMaj9’s 9 common shapes do this: 132113, xx3054, x8698x, 13-11-x-12-13-0, 13-11-x-12-13-12, 13-11-14-12-x-x, 13-15-14-13-13-15.
Start with xx3054 — no barre and 1 open string. 1 of the 9 shapes here sits in open position. 4 of the 9 need a barre. Together they cover the neck from the 1st fret to the 15th.
| Frets | Where | Bass | Top | Hand |
|---|---|---|---|---|
| 132113 | 1st fret | F, root position | G | barred |
| xx3054 | open position | F, root position | Ab | 1 open string |
| 333554 | 3rd fret | G, 9th in the bass | Ab | barred |
| x8698x | 6th fret | F, root position | G | all fretted |
| 8-11-10-9-8-8 | 8th fret | C, 2nd inversion | C | barred |
| 13-11-x-12-13-0 | 11th fret | F, root position | C | 1 open string |
| 13-11-x-12-13-12 | 11th fret | F, root position | E | all fretted |
| 13-11-14-12-x-x | 11th fret | F, root position | G | all fretted |
| 13-15-14-13-13-15 | 13th fret | F, root position | G | barred |
The same notes rebuilt from scratch give 3 shell, 7 drop 2, 5 drop 3, 13 rootless and 6 open string voicings, each on its own page.
Tensions. A shell of FmMaj9, root, third and seventh, leaves a string free, and the tones that belong over it are the 11 (Bb) and the 13 (D).
How you get to it. The turn that lands on FmMaj9 is Gm7♭5 to C7♭9: the ii and the V of F minor, which is where a minor tonic is usually arrived at rather than simply begun on.
Every note of FmMaj9 is in F harmonic minor and F melodic minor.
Change one note of FmMaj9 and you have Fmaj9 (the minor third becomes a major third), Fm69 (the major seventh becomes a sixth), Fm9 (the major seventh becomes a flat seventh), FmMaj7 (drop the ninth), FmMaj11 (add the fourth) or Fmadd9 (drop the major seventh).
FmMaj9 is a minor chord — root, minor third, fifth. Minor chords on every root.
On FmMaj9’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.