The standard grips this chord is usually shown with.
F#69 is F#, A#, C#, D# and G# — F#6 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 F#6/9, F#6add9 or F# six nine. The same chord either way; which spelling you meet depends on who wrote the chart.
F#69 in 6th in bass puts D# in the bass instead of F#, the 6th 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 F#69’s 8 common shapes does this:x66676
Play F#69 as a shell — root, third and seventh — and the spare string takes the #11 (B#).
All 8 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 F#69 is G#m7 to C#7 — the ii and the V of F# — and C#7 shares its third and seventh with G#m7, so the hand barely moves between them.
In which keys. Every note of F#69 belongs to C# major (the IV), Eb minor (the ♭III), F# major (the I), Ab minor (the ♭VII), Bb minor (the ♭VI) and B major (the V).
F#69 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 F#69 and you have F#maj9 (the sixth becomes the major seventh), F#maj13 (add the major seventh), F#m69 (the major third becomes the minor third), F#add9 (drop the sixth), F#6 (drop the ninth) or F#9 (the sixth becomes the flat seventh).
F#69 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.