Package leaflet · Information for the musician · Chord
F Six-Nine Chord (F6/9)
Warm, open and conclusive. A major triad with the sixth and ninth, avoiding the seventh: the classic jazz ending chord.
- F6/9
- 5 notes
- 100011
1Composition: what it contains
F – A – C – D – G
- Symbol
- F6/9
- Also written
- F6/9, F69, F6add9
- Formula
- 1 3 5 6 9
| Degree | Note | Interval | Semitones |
|---|---|---|---|
| 1 | F | unison | 0 |
| 3 | A | major third | 4 |
| 5 | C | perfect fifth | 7 |
| 6 | D | major sixth | 9 |
| 9 | G | major ninth | 14 |
2Appearance: diagrams and sound
On the guitar
100011open position
xx3233fret 2
x87788fret 7
13-10-10-10-10-10fret 10
13-12-12-12-13-13fret 12On the ukulele
0210open position
2535fret 2
7758fret 5On the piano
On the staff
On bass and as an arpeggio
3Indications: what it is used for
A tonic major chord in jazz, bossa nova, funk, soul and gospel, often used as the final chord of a tune or in place of a major seventh on I. Its pentatonic content (1-2-3-5-6) makes it extremely consonant and lets the melody move freely. Guitarists use the four-string quartal shape on top strings; pianists use it in spread voicings. It can also replace a major triad on IV. Its quartal shape also makes it a favourite for planing, sliding the same voicing up and down.
4Dosage: how to practise it
On guitar, learn the shape rooted on the fifth string (with the ninth and sixth on the higher strings) and the shape rooted on the sixth string; practise moving them chromatically. On piano, play the root and fifth in the left hand with 3-6-9 in the right, and practise the voicing in all keys. Practise ii7–V7–I6/9 at 80–140 BPM. Five minutes daily. Try ending tunes on a 6/9 instead of a plain major chord and compare the effect. Practise the quartal guitar shape slid chromatically into the target chord.
5Warnings and common mistakes
Do not confuse 6/9 with a slash chord: the slash in '6/9' is part of the chord name, not a bass note. It has no seventh, so it is not a thirteenth chord. On guitar, the shape often omits the fifth, which is fine. Avoid placing the sixth and ninth in a low register where they sound muddy. If the melody holds the major seventh, choose maj7 or maj9 instead.
6Interactions with chords, scales and keys
Inversions
- Inversion 1 · F6/9/A · A – C – D – G – F
- Inversion 2 · F6/9/C · C – D – G – F – A
- Inversion 3 · F6/9/D · D – G – F – A – C
- Inversion 4 · F6/9/G · G – F – A – C – D
Scales to play over F6/9
7Other presentations available
The same chord from every note
C6/9 C♯6/9 D6/9 E♭6/9 E6/9 F♯6/9 G6/9 A♭6/9 A6/9 B♭6/9 B6/9
Other chords on F
F Fm Fdim Faug Fsus2 Fsus4 F5 F6 Fm6 F7 Fmaj7 Fm7 Fm7♭5 Fdim7 Fm(maj7) F7sus4 Fadd9 Fm(add9) F9 Fmaj9 Fm9 F11 Fm11 F13 F7♭9 F7♯9 F7♯5 F7♭5
Read this leaflet carefully before playing. Keep it near your instrument. Free to use, print and share for personal and educational use.