A close-position chord with the second voice from the top lowered an octave. Sits on four adjacent strings.
GmMaj9 is G, Bb, D, F# and A — GmMaj7 with the ninth added on top.
It sounds the same unease with more colour over it. The ninth softens the edge without resolving anything.
Minor tonic — melodic minor, extended.

| G | Bb | D | F# | A |
|---|---|---|---|---|
| 1 | ♭3 | 5 | 7 | 9 |
Also written GmM9, Gm(maj9) or G-Δ9. The same chord either way; which spelling you meet depends on who wrote the chart.
Take the four notes stacked as close together as they go, then drop the second voice from the top an octave. The gap it opens is what makes the chord sound like a chord rather than a cluster.
It lands on four adjacent strings, which is why it is the workhorse voicing on guitar.
GmMaj9 has 5 of them, on the bottom four strings, the top four strings and the middle four strings, from open position up to the 8th — every inversion the chord has: G in the bass, Bb in the bass and A in the bass. The one to learn first is the G shape at the nut.
Five notes and four fingers, so something has to go. Keep Bb and F# (they fix the quality) and A (what the symbol is about). Let D and G go, in that order — a perfect fifth says nothing the root has not, and in a band the bass has the root.
Play GmMaj9 as a shell — root, third and seventh — and the spare string takes the 11 (C) or the 13 (E).
All 8 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 GmMaj9 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.
Every note of GmMaj9 is in G harmonic minor and G melodic minor.
Change one note of GmMaj9 and you have Gmaj9 (the minor third becomes the major third), Gm69 (the major seventh becomes the sixth), Gm9 (the major seventh becomes the flat seventh), GmMaj7 (drop the ninth), GmMaj11 (add the eleventh) or Gmadd9 (drop the major seventh).
GmMaj9 is a minor chord — root, minor third, fifth. Minor 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.