Build the sound
Play A♭ – C♭ – E♭ – F individually, then choose a shell voicing above. Sing the highest note before playing the chord.
Voicings · A♭m6 · Guitar
A♭m6 is spelled A♭ – C♭ – E♭ – F (1 ♭3 5 6) — a minor tonic with a Dorian colour, or a rootless 9th of a dominant a fourth below. 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 6-6-4 (position 2).
Drop the third-highest voice of the close voicing an octave: a wide, open sound. Strings A-G-B, frets 2-1-4.
Root, seventh and third only. The fifth is dropped — it adds nothing to the chord's identity — leaving a light, clear voicing. Strings E-A, frets 4-2.
Bill Evans-style left-hand voicing: the third on the bottom, the ninth on top, the bass player supplies the root. Strings A-D-G, 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 A-G-B, frets 1-4-4.
Your next 10 minutes
Play A♭ – C♭ – E♭ – F individually, then choose a shell voicing above. Sing the highest note before playing the chord.
Compare the displayed voicings of A♭m6. Notice which note is highest in each. Repeat the two shapes with the smallest comfortable hand movement, leaving a beat of silence between them.
Play A♭m6 on beats 2 and 4 at 60 bpm for four bars, then on the “and” of beat 2 for four bars. Keep the same notes while changing the rhythm. Mute unused strings and test each fretted note for buzz.
Listen for this: The chord tones are A♭, C♭, E♭, F. a minor tonic with a Dorian colour, or a rootless 9th of a dominant a fourth below. A fuller voicing is not automatically better: leave room for the melody and bass.
Understand the sound
This chord has a minor third and a natural sixth. The sixth is not a flat sixth; compare those notes over the same minor triad.
Here the third is C♭, and degree 6 is F. Play A♭ in the bass and compare these voices individually before combining them.
Start with the smallest displayed shape you can play cleanly. Move its highest note into a comfortable register and listen for a clear melody above the chord.
Sound the strings separately before playing them together. If a note is muted, adjust the finger angle instead of squeezing harder.
Start with A♭ on string 6, fret 4. The next note C♭ is on string 6, fret 7. Name both notes aloud before playing, then find the same two pitches in another octave.
Before moving on, close the diagram and name the notes: A♭ · C♭ · E♭ · F. Then play a two-bar phrase from memory and leave two bars of silence.
Behind the voicings
Reference
| Chord tone | Note | Interval |
|---|---|---|
| 1 | A♭ | unison |
| ♭3 | C♭ | minor 3rd |
| 5 | E♭ | perfect 5th |
| 6 | F | major 6th |
Arpeggio: A♭m6 arpeggio on guitar. Scale: A♭ Melodic minor.
Take it to the bandstand.Practice Radio streams endless changes to comp A♭m6 through all twelve keys, with the chord and scale shown live — plus ear-training and call & response modes.
▶ Open Practice RadioCommon questions
A♭, C♭, E♭, F — chord tones 1 ♭3 5 6. Rootless voicings add the 9th, B♭, and leave the root to the bass.
The shell voicing (root, seventh, third) on strings E, A: three notes, one comfortable shape, and it still sounds unmistakably like A♭m6.
Start from the close voicing A♭ C♭ E♭ F and drop the second note from the top an octave: E♭ – A♭ – C♭. It spreads the chord so it fits the hand — and on guitar it fits four adjacent strings.
A♭m6 is a minor tonic with a Dorian colour, or a rootless 9th of a dominant a fourth below. Its character is minor but bright.
Keep going
Same chord on piano · Minor 6th hub.
Other chords from A♭