C#m69 is C#, E, G#, A# and D#. Start with and add the and .
C#m69 often works as a minor tonic, giving you a fuller version of that still feels like home. The natural 6th is central to that sound.
Compare it with to isolate the 6th. has the ; C#m69 has the instead. Those notes are a half step apart.
The flat 7th drops one fret to the 6th. These shapes leave out the 5th, making the change easy to hear.
Also written C#m6/9, C#min6/9 or C#-6/9.
C#m69 in 1st inversion puts E in the bass instead of C#, the 3rd 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.
4 of C#m69’s 10 shapes do this:xx2344x7889912-11-11-13-11-11x-x-14-13-11-11
C#m69 is a tonic minor chord: it acts as the i of a minor key rather than a ii, and it has no seventh. It is the minor sixth chord with its root raised a whole step to the ninth.
Listen for: The V’s fifth holds into the i as its ninth. On the minor sixth chord it falls a whole step to the root.
Heard in“Summertime”“Blue Bossa”“Invitation”“Alone Together”
In which keys. Every note of C#m69 belongs to Ab minor and B major.
Contains C#m69 and adds fourth and flat seventh.
Contains C#m69 and adds fourth and major seventh.
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.