The standard grips this chord is usually shown with.
Gm69 is G, Bb, D, E and A — Gm6 with the ninth added as well.
It sounds cool and entirely at rest. No seventh, so nothing leans: a common last chord of a minor tune.

| G | Bb | D | E | A |
|---|---|---|---|---|
| 1 | ♭3 | 5 | 6 | 9 |
Minor tonic — nothing in it is pulling.
Also written Gm6/9, Gmin6/9 or G-6/9. The same chord either way; which spelling you meet depends on who wrote the chart.
Gm69 in 1st inversion puts Bb in the bass instead of G, the 3rd 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 Gm69’s 9 common shapes do this: x12233, 655755.
Start with 310230 — no barre and 2 open strings. 1 of the 9 shapes here sits in open position. 5 of the 9 need a barre. Together they cover the neck from the 1st fret to the 10th.
| Frets | Where | Bass | Top | Hand |
|---|---|---|---|---|
| 310230 | open position | G, root position | E | 2 open strings |
| 3122xx | 1st fret | G, root position | A | all fretted |
| x12233 | 1st fret | Bb, 1st inversion | G | all fretted |
| 3x2335 | 2nd fret | G, root position | A | barred |
| 3x5355 | 3rd fret | G, root position | A | barred |
| xx5355 | 3rd fret | G, root position | A | barred |
| x55355 | 3rd fret | D, 2nd inversion | A | barred |
| 655755 | 5th fret | Bb, 1st inversion | A | barred |
| x-10-8-9-10-x | 8th fret | G, root position | A | all fretted |
The same notes rebuilt from scratch give 4 shell, 13 drop 2, 8 drop 3, 14 rootless and 4 open string voicings, each on its own page.
Tensions. A shell of Gm69, root, third and seventh, leaves a string free, and the tones that belong over it are the 11 (C).
How you get to it. The turn that lands on Gm69 is Am7♭5 to D7♭9: the ii and the V of G minor, which is where a minor tonic is usually arrived at rather than simply begun on.
In which keys. Every note of Gm69 belongs to D minor (the iv, the subdominant) and F major (the ii, the supertonic).
Every note of Gm69 is in G dorian and G melodic minor.
Change one note of Gm69 and you have Gm6 (drop the ninth), Gm9 (the sixth becomes a flat seventh), GmMaj9 (the sixth becomes a major seventh), Gmadd9 (drop the sixth) or G69 (the minor third becomes a major third).
Gm69 is a minor chord — root, minor third, fifth. Minor chords on every root.
On Gm69’s sound and use this page follows Mark Levine, The Jazz Piano Book (Sher Music, 1989). 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.