F#m9 guitar chord
An open string left ringing against a fretted grip. Because it costs no finger, it sounds a note the closed shape has none left for -- a tension on top, or a pedal root underneath. Either a familiar grip with open strings added, or a shape so sparse the open strings carry the chord. These belong to their key rather than to a shape, so D, A, G and E have many and Eb a handful.
- Tap a note to hear it
- Arrows change position
- Fingers, notes or intervals
- Play the chord
About F#m9 — open string 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
An open string left ringing against a fretted grip. It costs no finger, so it can sound a note the closed shape has none left for: a tension on top, or a pedal root underneath.
These belong to their key rather than to a shape: they cannot be moved up the neck. D, A, G and E have many; E♭ has a handful.
F#m9 has 3 of them, on strings 6-5-4-3-2, strings 5-4-3-2-1 and strings 6-5-4-3-2-1, from the 4th fret up to the 6th — every inversion the chord has: A in the bass and E in the bass. The one to learn first is the E shape at the 4th fret, which is the easiest grip here.
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, 8 drop 3 and 14 rootless 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.