Cm69 is C, Eb, G, A and D. Start with and add the and .
Cm69 often works as a minor tonic, giving you a fuller version of that still feels like home. The natural 6th is central to that sound.
Compare it with to isolate the 6th. has the ; Cm69 has the instead. Those notes are a half step apart.
The flat 7th drops one fret to the 6th. These shapes leave out the 5th, making the change easy to hear.
Also written Cm6/9, Cmin6/9 or C-6/9.
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.
Cm69 is a tonic minor chord: it acts as the i of a minor key rather than a ii, and it has no seventh. It is the minor sixth chord with its root raised a whole step to the ninth.
Listen for: The V’s fifth holds into the i as its ninth. On the minor sixth chord it falls a whole step to the root.
Heard in“Summertime”“Blue Bossa”“Invitation”“Alone Together”
In which keys. Every note of Cm69 belongs to G minor and Bb major.
Contains Cm69 and adds fourth and flat seventh.
Contains Cm69 and adds fourth and major 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.