The standard grips this chord is usually shown with.
E69 is E, G#, B, C# and F# — E6 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.

| E | G# | B | C# | F# |
|---|---|---|---|---|
| 1 | 3 | 5 | 6 | 9 |
Tonic — it commits to nothing.
Also written E6/9, E6add9 or E six nine. The same chord either way; which spelling you meet depends on who wrote the chart.
E69 in 2nd inversion puts B in the bass instead of E, the 5th 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 E69’s 10 common shapes does this: x22122.
Start with x74654 — no barre and low, at the 4th fret. 1 of the 10 shapes here sits in open position. 9 of the 10 need a barre. Together they cover the neck from the 1st fret to the 14th.
| Frets | Where | Bass | Top | Hand |
|---|---|---|---|---|
| 022122 | open position | E, root position | F# | barred |
| xx2122 | 1st fret | E, root position | F# | barred |
| x22122 | 1st fret | B, 2nd inversion | F# | barred |
| x44454 | 4th fret | C#, 6th in the bass | G# | barred |
| x74654 | 4th fret | E, root position | G# | all fretted |
| x76677 | 6th fret | E, root position | B | barred |
| x99999 | 9th fret | F#, 9th in the bass | C# | barred |
| 0-11-11-11-12-12 | 11th fret | E, root position | E | barred |
| 12-11-11-11-12-12 | 11th fret | E, root position | E | barred |
| x-x-14-13-14-14 | 13th fret | E, root position | F# | barred |
The same notes rebuilt from scratch give 4 shell, 13 drop 2, 9 drop 3, 13 rootless and 4 open string voicings, each on its own page.
Tensions. A shell of E69, root, third and seventh, leaves a string free, and the tones that belong over it are the #11 (A#).
How you get to it. The turn that lands on E69 is F#m7 to B7 — the ii and the V of E — and B7 shares its third and seventh with F#m7, so the hand barely moves between them.
In which keys. Every note of E69 belongs to C# minor (the ♭III), E major (the I), F# minor (the ♭VII), Ab minor (the ♭VI), A major (the V) and B major (the IV).
E69 is every note of the E major pentatonic, and nothing else. It also sits inside E major, E lydian, E mixolydian and E lydian dominant.
Change one note of E69 and you have Emaj9 (the sixth becomes a major seventh), Emaj13 (add the major seventh), Em69 (the major third becomes a minor third), Eadd9 (drop the sixth), E6 (drop the ninth) or E9 (the sixth becomes a flat seventh).
E69 is a major chord — root, major third, fifth. Major chords on every root.
On E69’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.