F#m6 guitar chord
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.
- Tap a note to hear it
- Arrows change position
- Fingers, notes or intervals
- Play the chord
About F#m6 — open string voicings
F#m6 is F#, A, C# and D# — F#m with a major sixth added on top.
It sounds bittersweet — minor underneath, major on top. The major sixth over a minor triad comes from the melodic minor, and it is the classic jazz minor tonic.
F#m6 notes and formula
| F# | A | C# | D# |
|---|---|---|---|
| 1 | ♭3 | 5 | 6 |
Minor tonic — an ending chord in a minor key.
Also written F#min6, F#-6 or F# minor 6. The same chord either way; which spelling you meet depends on who wrote the chart.
How to play F#m6
An open string left ringing against a fretted grip. It costs no finger, so it can sound a note the closed shape has none left for: a tension on top, or a pedal root underneath.
These belong to their key rather than to a shape: they cannot be moved up the neck. D, A, G and E have many; E♭ has a handful.
F#m6 has 1 of them, only on strings 6-5-4-3-2, all of them at the 4th fret — all in one inversion, so the bass note never moves. The one to learn first is the A shape at the 4th fret, which is the easiest grip here.
Start with xx4645 — no barre and low, at the 4th fret. None of the shapes for F#m6 uses an open string, so every one of them is movable; the lowest sits at the 1st fret. 4 of the 9 need a barre. Together they cover the neck from the 1st fret to the 14th.
| Frets | Where | Bass | Top | Hand |
|---|---|---|---|---|
| 2x1222 | 1st fret | F#, root position | F# | barred |
| 244242 | 2nd fret | F#, root position | F# | barred |
| xx4645 | 4th fret | F#, root position | A | all fretted |
| x97879 | 7th fret | F#, root position | C# | all fretted |
| x-9-11-8-10-x | 8th fret | F#, root position | A | all fretted |
| x-9-11-x-10-11 | 9th fret | F#, root position | D# | all fretted |
| x-x-11-11-10-11 | 10th fret | C#, 2nd inversion | D# | barred |
| x-12-13-11-14-x | 11th fret | A, 1st inversion | C# | all fretted |
| 14-x-13-14-14-14 | 13th fret | F#, root position | F# | barred |
The same notes rebuilt from scratch give 7 shell, 13 drop 2 and 9 drop 3 voicings, each on its own page.
Tensions. A shell of F#m6, root, third and seventh, leaves a string free, and the tones that belong over it are the 9 (G#) and the 11 (B).
How to use F#m6
How you get to it. The turn that lands on F#m6 is G#m7♭5 to C#7♭9: the ii and the V of F# minor, which is where a minor tonic is usually arrived at rather than simply begun on.
In which keys. Every note of F#m6 belongs to C# minor (the iv, the subdominant) and E major (the ii, the supertonic).
What to play over F#m6
Every note of F#m6 is in F# dorian, F# melodic minor and F# half-whole diminished.
Chords near F#m6
Change one note of F#m6 and you have F#m (drop the sixth), F#dim7 (the fifth becomes a flat fifth), F#m69 (add the ninth), F#m7 (the sixth becomes a flat seventh), F#mMaj7 (the sixth becomes a major seventh) or F#madd9 (the sixth becomes a ninth).
F#m6 is a minor chord — root, minor third, fifth. Minor chords on every root.
On F#m6’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.