The standard grips this chord is usually shown with.
Dm69 is D, F, A, B and E — Dm6 with the ninth added as well.
It sounds cool and entirely at rest. No seventh, so nothing leans: a common last chord of a minor tune.

| D | F | A | B | E |
|---|---|---|---|---|
| 1 | ♭3 | 5 | 6 | 9 |
Minor tonic — nothing in it is pulling.
Also written Dm6/9, Dmin6/9 or D-6/9. The same chord either way; which spelling you meet depends on who wrote the chart.
Dm69 in 9th in bass puts E in the bass instead of D, the 9th of the chord. The notes are the same; what changes is what the bass line does, which is most of why you would reach for it — it lets the lowest voice move by step where the root would have jumped.
One of Dm69’s 11 common shapes does this: x70767.
Start with x53200 — no barre and 2 open strings. 2 of the 11 shapes here sit in open position. 7 of the 11 need a barre. Together they cover the neck from the 2nd fret to the 14th.
| Frets | Where | Bass | Top | Hand |
|---|---|---|---|---|
| x53200 | open position | D, root position | E | 2 open strings |
| x53450 | open position | D, root position | E | 1 open string |
| x53455 | 3rd fret | D, root position | A | barred |
| x70767 | 6th fret | E, 9th in the bass | B | barred |
| 10-8-9-9-x-x | 8th fret | D, root position | E | all fretted |
| x-8-9-9-10-10 | 8th fret | F, 1st inversion | D | all fretted |
| 10-x-9-10-10-12 | 9th fret | D, root position | E | barred |
| 10-x-12-10-12-12 | 10th fret | D, root position | E | barred |
| x-x-12-10-12-12 | 10th fret | D, root position | E | barred |
| x-12-12-10-12-12 | 10th fret | A, 2nd inversion | E | barred |
| 13-12-12-14-12-12 | 12th fret | F, 1st inversion | E | barred |
The same notes rebuilt from scratch give 3 shell, 12 drop 2, 8 drop 3, 13 rootless and 6 open string voicings, each on its own page.
Tensions. A shell of Dm69, root, third and seventh, leaves a string free, and the tones that belong over it are the 11 (G).
How you get to it. The turn that lands on Dm69 is Em7♭5 to A7♭9: the ii and the V of D minor, which is where a minor tonic is usually arrived at rather than simply begun on.
In which keys. Every note of Dm69 belongs to C major (the ii, the supertonic) and A minor (the iv, the subdominant).
Every note of Dm69 is in D dorian and D melodic minor.
Change one note of Dm69 and you have Dm6 (drop the ninth), Dm9 (the sixth becomes a flat seventh), DmMaj9 (the sixth becomes a major seventh), Dmadd9 (drop the sixth) or D69 (the minor third becomes a major third).
Dm69 is a minor chord — root, minor third, fifth. Minor chords on every root.
On Dm69’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.
Shows each chord the way this style would voice it, and marks which of its alternatives belong to the idiom.