F#69 guitar chord
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.
- Tap a note to hear it
- Arrows change position
- Fingers, notes or intervals
- Play the chord
About F#69 — shell voicings
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.
F#69 notes and formula
| F# | A# | C# | D# | G# |
|---|---|---|---|---|
| 1 | 3 | 5 | 6 | 9 |
Tonic — it commits to nothing.
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.
How to play F#69
Root, third and seventh. The third and seventh, the guide tones, are what make the chord major, minor or dominant, so the fifth can go: it says nothing the symbol needs.
Three notes means a spare string, which is the real point. Put a tension on it.
F#69 has 4 of them, on the bottom four strings, the top four strings and the middle four strings, from open position up to the 13th — all in one inversion, so the bass note never moves. The one to learn first is the F# shape at the nut, which is the easiest grip here.
Start with x96876 — no barre. None of the shapes for F#69 uses an open string, so every one of them is movable; the lowest sits at the 1st fret. 7 of the 8 need a barre. Together they cover the neck from the 1st fret to the 14th.
| Frets | Where | Bass | Top | Hand |
|---|---|---|---|---|
| 211122 | 1st fret | F#, root position | F# | barred |
| xx4344 | 3rd fret | F#, root position | G# | barred |
| x44344 | 3rd fret | C#, 2nd inversion | G# | barred |
| x66676 | 6th fret | D#, 6th in the bass | A# | barred |
| x96876 | 6th fret | F#, root position | A# | all fretted |
| x98899 | 8th fret | F#, root position | C# | barred |
| x-11-11-11-11-11 | 11th fret | G#, 9th in the bass | D# | barred |
| 14-13-13-13-14-14 | 13th fret | F#, root position | F# | barred |
The same notes rebuilt from scratch give 13 drop 2, 8 drop 3 and 13 rootless voicings, each on its own page.
Tensions. A shell of F#69, root, third and seventh, leaves a string free, and the tones that belong over it are the #11 (B#).
How to use F#69
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).
What to play over F#69
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.
Chords near F#69
Change one note of F#69 and you have F#maj9 (the sixth becomes a major seventh), F#maj13 (add the major seventh), F#m69 (the major third becomes a minor third), F#add9 (drop the sixth), F#6 (drop the ninth) or F#9 (the sixth becomes a flat seventh).
F#69 is a major chord — root, major third, fifth. Major chords on every root.
On F#69’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.