D6 guitar chord
The third voice from the top lowered an octave. The dropped voice becomes the bass, which is why a string is skipped.
- Tap a note to hear it
- Arrows change position
- Fingers, notes or intervals
- Play the chord
About D6 — drop 3 voicings
D6 is D, F#, A and B — D with a major sixth added on top.
It sounds warm, and finished without being sweet. It closes a tune as firmly as the triad does but without the maj7’s shine, which is why so many standards end on one.
D6 notes and formula
| D | F# | A | B |
|---|---|---|---|
| 1 | 3 | 5 | 6 |
Tonic — an ending chord.
Also written Dmaj6, DM6 or D major 6. The same chord either way; which spelling you meet depends on who wrote the chart.
How to play D6
The same operation one voice further down: the third voice from the top falls an octave and becomes the bass.
That leaves a bigger hole under the top three notes, so a string gets skipped: the muted string in the middle is the shape, not a mistake.
D6 has 10 of them, on strings 6-4-3-2 and strings 5-3-2-1, from the 2nd fret up to the 14th — every inversion the chord has: D in the bass, F# in the bass, A in the bass and B in the bass. The one to learn first is the F# shape at the 2nd fret.
5 of them sit on strings 6-4-3-2, so you can run the inversions up one set without changing strings — which is the whole reason to learn them as a family rather than as separate grips.
Start with xx0202 — no barre and 2 open strings. 1 of the 10 shapes here sits in open position. 4 of the 10 need a barre. Together they cover the neck from the 2nd fret to the 14th.
| Frets | Where | Bass | Top | Hand |
|---|---|---|---|---|
| xx0202 | open position | D, root position | F# | 2 open strings |
| x5443x | 3rd fret | D, root position | D | all fretted |
| x57777 | 5th fret | D, root position | B | barred |
| x97777 | 7th fret | F#, 1st inversion | B | barred |
| 10-9-9-7-7-7 | 7th fret | D, root position | B | barred |
| 7-9-7-7-10-7 | 7th fret | B, 6th in the bass | B | barred |
| 10-x-9-11-10-x | 9th fret | D, root position | A | all fretted |
| 10-x-12-11-12-10 | 10th fret | D, root position | D | all fretted |
| 10-12-x-11-12-10 | 10th fret | D, root position | D | all fretted |
| x-x-12-14-12-14 | 12th fret | D, root position | F# | all fretted |
The same notes rebuilt from scratch give 4 shell, 14 drop 2 and 6 open string voicings, each on its own page.
Tensions. A shell of D6, root, third and seventh, leaves a string free, and the tones that belong over it are the 9 (E) and the #11 (G#).
How to use D6
How you get to it. The turn that lands on D6 is Em7 to A7 — the ii and the V of D — and A7 shares its third and seventh with Em7, so the hand barely moves between them.
In which keys. Every note of D6 belongs to D major (the I), E minor (the ♭VII), F# minor (the ♭VI), G major (the V), A major (the IV) and B minor (the ♭III).
What to play over D6
Every note of D6 is in D major pentatonic, D major, D lydian, D mixolydian and D lydian dominant.
Chords near D6
Change one note of D6 and you have D (drop the sixth), Dmaj7 (the sixth becomes a major seventh), Dm6 (the major third becomes a minor third), Dadd9 (the sixth becomes a ninth), D69 (add the ninth) or D7 (the sixth becomes a flat seventh).
D6 is a major chord — root, major third, fifth. Major chords on every root.
On D6’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.