F#m9 guitar chord
The third voice from the top lowered an octave. The dropped voice becomes the bass, which is why a string is skipped.
- Tap a note to hear it
- Arrows change position
- Fingers, notes or intervals
- Play the chord
About F#m9 — drop 3 voicings
F#m9 is F#, A, C#, E and G# — F#m7 with the ninth stacked above it.
It sounds warm, and considerably richer than an m7. The standard voicing for a ii chord once the plain one has been played enough.
F#m9 notes and formula
| F# | A | C# | E | G# |
|---|---|---|---|---|
| 1 | ♭3 | 5 | ♭7 | 9 |
Pre-dominant or minor tonic — an m7’s job with more colour.
Also written F#min9, F#-9 or F# minor 9. The same chord either way; which spelling you meet depends on who wrote the chart.
How to play F#m9
The same operation one voice further down: the third voice from the top falls an octave and becomes the bass.
That leaves a bigger hole under the top three notes, so a string gets skipped: the muted string in the middle is the shape, not a mistake.
F#m9 has 8 of them, on strings 5-3-2-1 and strings 6-4-3-2, from open position up to the 10th — every inversion the chord has: F# in the bass, A in the bass, E in the bass and G# in the bass. The one to learn first is the A shape at the nut.
4 of them sit on strings 5-3-2-1, so you can run the inversions up one set without changing strings — which is the whole reason to learn them as a family rather than as separate grips.
Start with x-x-11-13-10-12 — no barre. 1 of the 8 shapes here sits in open position. 5 of the 8 need a barre. Together they cover the neck from the 1st fret to the 14th.
| Frets | Where | Bass | Top | Hand |
|---|---|---|---|---|
| 202120 | open position | F#, root position | E | barred |
| 242224 | 2nd fret | F#, root position | G# | barred |
| 576675 | 5th fret | A, 1st inversion | A | all fretted |
| x9799x | 7th fret | F#, root position | G# | barred |
| x-11-11-11-10-12 | 10th fret | G#, 9th in the bass | E | barred |
| x-x-11-13-10-12 | 10th fret | C#, 2nd inversion | E | all fretted |
| 14-12-x-13-14-12 | 12th fret | F#, root position | E | all fretted |
| x-12-14-13-14-14 | 12th fret | A, 1st inversion | F# | barred |
The same notes rebuilt from scratch give 4 shell, 13 drop 2, 14 rootless and 3 open string voicings, each on its own page.
Tensions. A shell of F#m9, root, third and seventh, leaves a string free, and the tones that belong over it are the 11 (B) and the 13 (D#).
How to use F#m9
How you get to it. The turn that lands on F#m9 is G#m7♭5 to C#7♭9: the ii and the V of F# minor, which is where a minor tonic is usually arrived at rather than simply begun on.
In which keys. Every note of F#m9 belongs to C# minor (the iv, the subdominant), E major (the ii, the supertonic), F# minor (the i, the tonic) and A major (the vi, the submediant).
What to play over F#m9
Every note of F#m9 is in F# dorian and F# natural minor.
Chords near F#m9
Change one note of F#m9 and you have F#m69 (the flat seventh becomes a sixth), F#m7 (drop the ninth), F#m11 (add the fourth), F#mMaj9 (the flat seventh becomes a major seventh), F#madd9 (drop the flat seventh) or F#9 (the minor third becomes a major third).
F#m9 is a minor chord — root, minor third, fifth. Minor chords on every root.
On F#m9’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.