D69 guitar chord
An open string left ringing against a fretted grip. Because it costs no finger, it sounds a note the closed shape has none left for -- a tension on top, or a pedal root underneath. Either a familiar grip with open strings added, or a shape so sparse the open strings carry the chord. These belong to their key rather than to a shape, so D, A, G and E have many and Eb a handful.
- Tap a note to hear it
- Arrows change position
- Fingers, notes or intervals
- Play the chord
About D69 — open string voicings
D69 is D, F#, A, B and E — D6 with the ninth added as well.
It sounds wide and entirely at rest. The modern way to voice a tonic when a triad is too bare and a maj7 too pointed.
D69 notes and formula
| D | F# | A | B | E |
|---|---|---|---|---|
| 1 | 3 | 5 | 6 | 9 |
Tonic — it commits to nothing.
Also written D6/9, D6add9 or D six nine. The same chord either way; which spelling you meet depends on who wrote the chart.
How to play D69
An open string left ringing against a fretted grip. It costs no finger, so it can sound a note the closed shape has none left for: a tension on top, or a pedal root underneath.
These belong to their key rather than to a shape: they cannot be moved up the neck. D, A, G and E have many; E♭ has a handful.
D69 has 6 of them, on strings 6-5-4-3-2, strings 5-4-3-2-1, strings 6-5-4-3-2-1 and strings 6-4-3-2-1, from the 2nd fret up to the 4th — every inversion the chord has: F# in the bass, A in the bass, B in the bass and E in the bass. The one to learn first is the F# shape at the 2nd fret, which is the easiest grip here.
Start with x54200 — no barre and 2 open strings. 1 of the 9 shapes here sits in open position. 7 of the 9 need a barre. Together they cover the neck from the 2nd fret to the 15th.
| Frets | Where | Bass | Top | Hand |
|---|---|---|---|---|
| x22232 | 2nd fret | B, 6th in the bass | F# | barred |
| x54200 | open position | D, root position | E | 2 open strings |
| x52432 | 2nd fret | D, root position | F# | all fretted |
| x54455 | 4th fret | D, root position | A | barred |
| x77777 | 7th fret | E, 9th in the bass | B | barred |
| 10-9-9-9-10-10 | 9th fret | D, root position | D | barred |
| x-x-12-11-12-12 | 11th fret | D, root position | E | barred |
| x-12-12-11-12-12 | 11th fret | A, 2nd inversion | E | barred |
| x-14-14-14-15-14 | 14th fret | B, 6th in the bass | F# | barred |
The same notes rebuilt from scratch give 3 shell, 12 drop 2, 8 drop 3 and 13 rootless voicings, each on its own page.
Tensions. A shell of D69, root, third and seventh, leaves a string free, and the tones that belong over it are the #11 (G#).
How to use D69
How you get to it. The turn that lands on D69 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 D69 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 D69
D69 is every note of the D major pentatonic, and nothing else. It also sits inside D major, D lydian, D mixolydian and D lydian dominant.
Chords near D69
Change one note of D69 and you have Dmaj9 (the sixth becomes a major seventh), Dmaj13 (add the major seventh), Dm69 (the major third becomes a minor third), Dadd9 (drop the sixth), D6 (drop the ninth) or D9 (the sixth becomes a flat seventh).
D69 is a major chord — root, major third, fifth. Major chords on every root.
On D69’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.