Playable, correctly spelled, and not how the chord is normally voiced. Right now this is the shapes that put a ninth, eleventh or thirteenth below the root.
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.
Minor tonic — nothing in it is pulling.

| D | F | A | B | E |
|---|---|---|---|---|
| 1 | ♭3 | 5 | 6 | 9 |
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.
Five notes and four fingers, so something has to go. Keep F (it fixes the quality) and B and E (what the symbol is about). Let A and D go, in that order — a perfect fifth says nothing the root has not, and in a band the bass has the root.
Play Dm69 as a shell — root, third and seventh — and the spare string takes the 11 (G).
All 11 common shapes as fret numbers, lowest string first. Hover or tap one to see it drawn.
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.
Each of those is a page: the scale across the neck, and the chords it harmonises into — which is where Dm69 sits in it. Every scale.
Change one note of Dm69 and you have Dm6 (drop the ninth), Dm9 (the sixth becomes the flat seventh), DmMaj9 (the sixth becomes the major seventh), Dmadd9 (drop the sixth) or D69 (the minor third becomes the major third).
Dm69 is a minor chord — root, minor third, fifth. Minor chords on every root.
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.