Voicings · F6 · Guitar
F6 is spelled F – A – C – D (1 3 5 6) — a tonic alternative to maj7, especially on the last chord of a tune. Here are 5 ways to voice it on guitar: drop 2, drop 3, shell, rootless a, rootless b. Every diagram is playable — press play to hear the chord, or “roll it” to hear the voices one by one, low to high.
The voicings
Take the close voicing and drop its second-highest voice an octave. The most-used four-note voicing on guitar and in piano left hands. Strings A-D-G, frets 3-3-2.
Drop the third-highest voice of the close voicing an octave: a wide, open sound. Strings E-D-G, frets 5-3-5 (position 1).
Root, seventh and third only. The fifth is dropped — it adds nothing to the chord's identity — leaving a light, clear voicing. Strings D-G, frets 3-2.
Bill Evans-style left-hand voicing: the third on the bottom, the ninth on top, the bass player supplies the root. Strings G-B-e, frets 2-1-3.
The companion rootless voicing with the seventh on the bottom. Alternate A and B so the top voice moves by step through a ii–V–I. Strings E-G-B, frets 3-2-1.
Reference
| Chord tone | Note | Interval |
|---|---|---|
| 1 | F | unison |
| 3 | A | major 3rd |
| 5 | C | perfect 5th |
| 6 | D | major 6th |
Arpeggio: F6 arpeggio on guitar. Scale: F Major (Ionian).
Common questions
F, A, C, D — chord tones 1 3 5 6. Rootless voicings add the 9th, G, and leave the root to the bass.
The shell voicing (root, seventh, third) on strings D, G: three notes, one comfortable shape, and it still sounds unmistakably like F6.
Start from the close voicing F A C D and drop the second note from the top an octave: C – F – A. It spreads the chord so it fits the hand — and on guitar it fits four adjacent strings.
F6 is a tonic alternative to maj7, especially on the last chord of a tune. Its character is open, classic, swing-era.
Keep going
Same chord on piano · Major 6th hub.
Other chords from F