Bbm6 is Bb, Db, F and G. Start with and add the .
The “6” means , a major 6th above . That note separates Bbm6 from , which uses the instead.
To hear the difference, compare with Bbm6.
The flat 7th falls one fret to the 6th. The root, minor 3rd, and 5th stay the same.
When is the home chord, jazz players often use Bbm6 instead of . The minor triad stays intact. The choice is or .
Also written Bbmin6, Bb-6 or Bb minor 6.
Stack the four notes closely, then drop the second voice from the top an octave. It typically lands on four adjacent strings: the guitar’s workhorse voicing.
That result, 5–R–3–7, is the shape usually meant by drop 2. Named by its bass note, as the inversions are here, it is the 2nd inversion.
Bbm6 is where a minor tune comes to rest — a minor I, never a ii. It is the natural landing chord of a minor ii–V–i.
Listen for: The flat nine on top of the dominant falls a half step onto the fifth.
Works when the minor chord is a destination — not a ii leading straight into its own V.
Heard in“Summertime”“Blue Bossa”“Invitation”
Hold a minor chord for a few bars and walk one voice down from the root, a half step at a time. Bbm6 is the last step.
Listen for: Only one note moves: root, major seventh, flat seventh, sixth.
Heard in“Manhã de Carnaval”“’Round Midnight”“My Funny Valentine”
In F major, Bbm6 is the iv chord borrowed from the parallel minor. Slip it between two tonic chords and the bar darkens, then slides straight home.
Listen for: The minor third falls a half step to the tonic’s fifth — the note a major IV does not have.
Hold this Bbm6 chord shape still and move only the bass: over the sixth it becomes Gm7b5, over the fourth it becomes Eb9. Wherever a chart asks for either, you already know the shape.
Listen for: Only the bass moves, down in thirds. The four notes above it never change, yet each bass names a different chord.
Heard inJim Hall’s comping on “My Funny Valentine”, from Undercurrent
When a minor ii–V lands on a i that lasts two bars, the i can change quality instead of sitting still: BbmMaj7, then Bbm6, melody permitting. The harmony seems to move every bar.
Heard in “Autumn Leaves” (end of the A section)
The basic turnaround in B♭ minor can start on Bbm6 as well as on the minor seventh.
Bbm6 can be reached from Eb7 rather than from its V, a plagal cadence. The ♭VI7 can take the IV7’s place, and so can the dominant a half step below Bbm6.
A melody can be harmonised by alternating Bbm6 with diminished seventh chords, the minor form of the sixth–diminished sound.
Heard in “Softly, as in a Morning Sunrise” (first five bars)Go to the Bb6 page to hear it →
In which keys. Every note of Bbm6 belongs to F minor and Ab major.
Contains Bbm6 and adds second, fourth and flat seventh.
Contains Bbm6 and adds second, fourth and major seventh.
Contains Bbm6 and adds flat second, major third, sharp eleventh and flat seventh.
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.