The standard grips this chord is usually shown with.
F69 is F, A, C, D and G — F6 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.
Tonic — it commits to nothing.

| F | A | C | D | G |
|---|---|---|---|---|
| 1 | 3 | 5 | 6 | 9 |
Also written F6/9, F6add9 or F six nine. The same chord either way; which spelling you meet depends on who wrote the chart.
F69 in 2nd inversion puts C in the bass instead of F, 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 F69’s 9 common shapes does this:x33233
Play F69 as a shell — root, third and seventh — and the spare string takes the #11 (B).
All 9 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 F69 is Gm7 to C7 — the ii and the V of F — and C7 shares its third and seventh with Gm7, so the hand barely moves between them.
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).
F69 is every note of the F major pentatonic, and nothing else. It also sits inside F major, F lydian, F mixolydian and F lydian dominant.
Change one note of F69 and you have Fmaj9 (the sixth becomes the major seventh), Fmaj13 (add the major seventh), Fm69 (the major third becomes the minor third), Fadd9 (drop the sixth), F6 (drop the ninth) or F9 (the sixth becomes the flat seventh).
F69 is a major chord — root, major third, fifth. Major 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.