D6 D major sixth chord
- Notes
- D F# A B
- Formula
- 1 3 5 6
- Semitones
- 0 4 7 9 above the root
- Other symbols
- DM6, Dmaj6
D to F# is a major third (4 semitones), F# to A is a minor third (3 semitones), A to B is a major second (2 semitones). A major triad plus the major sixth, B, nine semitones above D. With B in the bass the same four keys read as Bm7: which name fits depends on the bass note.
D6 on the piano
Root position from D4: D4, F#4, A4, B4. Middle C is C4.
D6 on the guitar
Standard tuning (E A D G B E). Strings run low E on the left to high e on the right, frets downwards; × is a muted string, ○ an open string, and each dot shows the note it sounds, with the root in blue-green. Every shape below has D as its lowest note.
x x 0 2 0 2 (low E to high e)
Sounds D3 A3 B3 F#4
x 5 7 7 7 7 (low E to high e)
Sounds D3 A3 D4 F#4 B4
10 x 9 11 10 x (low E to high e)
Sounds D3 B3 F#4 A4
The E-shape and A-shape grips are movable: an E-shape chord's root is the note under your first finger on the low E string, an A-shape chord's root is the note on the A string. Slide the same grip up or down to play major sixth chords on other roots.
Inversions of D6
An inversion puts a note other than the root in the bass. The name is what semicord's chord finder calls those notes played bottom to top; a slash name like C/E means a C chord with E in the bass.
| Position | Notes, bass first | Named | Listen |
|---|---|---|---|
| Root position | D F# A B | D6 | |
| 1st inversion | F# A B D | Bm7/F# (also read as D6/F#) | |
| 2nd inversion | A B D F# | Bm7/A (also read as D6/A) | |
| 3rd inversion | B D F# A | Bm7 (also read as D6/B) |
Where D6 fits
D6 is I6 in D major, IV6 in A major. As a final tonic chord it is the swing-era and early rock and roll alternative to Dmaj7: the sixth, B, adds colour without the half-step rub between D and a major seventh.