F69

F69 is F, A, C, D and G, a six-nine. The shape this page opens on is written 100011, lowest string first.

Also written F6/9, F6add9 or F six nine. The same chord either way; which spelling you meet depends on who wrote the chart.

There are 9 common shapes for F69 on the guitar, and 51 derived voicings in 5 families.

In which keys. Every note of F69 belongs to C major (the IV), D minor (the ♭III), F major (the I), G minor (the ♭VII), A minor (the ♭VI) and Bb major (the V).

The common shapes, written lowest string first: 100011, xx3233, x33233, x55565, x85765, x87788, x-10-10-10-10-10, 13-12-12-12-13-13, x-x-15-14-15-15.

Shell. Root, third and seventh: the guide tones fix the quality, so the fifth is dropped. That is what leaves a string free, so pick a tension to put on top. F69 has 1000xx, xx3233, x8778x, 13-12-12-12-x-x, x-x-15-14-15-15.

Drop 2. A close-position chord with the second voice from the top lowered an octave. Sits on four adjacent strings. F69 has 1000xx, xx3233, x0303x, xx5765, x8778x, x-10-12-10-10-x, 13-12-12-12-x-x, x-x-15-14-15-15.

Drop 3. The third voice from the top lowered an octave. The dropped voice becomes the bass, which is why a string is skipped. F69 has x0x031, 3x323x, x5x263, x8x785, 5x576x, 10-x-7-10-8-x, x-10-x-10-10-10, 13-x-12-12-10-x.

Rootless. The root left to the bass player. Frees a finger for a tension. F69 has xx0213, x0001x, xx5535, xx7788, x-x-10-12-10-10, x-12-12-12-13-x, x3x233, x3523x.

Open string. 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. F69 has 35320x, 53000x, x00503, x00067, xx0005, x0570x.

Tensions. A shell of F69, root, third and seventh, leaves a string free, and the tones that belong over it are the #11 (B).

The common shapes and the derived voicings come from different places, and both are explained in where the chords and the theory come from.