Db6/9 Piano Chord

Piano Diagram of Db6/9 in Root Position

Db6/9 is a five-note chord consisting of the notes Db, F, Ab, Bb, and Eb. It is a major chord with an added 6th and 9th. It belongs to the chord family of 6th chords, which are “Added chords”. Keep reading to gain a deeper understanding of the music theory behind this chord.

 

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Playing Extended Chords on Piano

Extended chords are an essential part of piano playing, providing a rich and complex sound. However, playing extended chords can be challenging due to the number of notes involved. One way to manage this is by omitting certain notes, such as the root or the 5th, or by dividing the chord between both hands.

Despite these techniques, extended chords can still create dense harmonies that require careful voicing. When inverted, these chords can produce complex clusters of notes that need to be approached with skill and precision. Mastering the voicing of extended chords takes time and practice, but it’s a crucial skill for any pianist looking to expand their repertoire.

 

Db6/9 Chord Inversions

The Db6/9 chord has a total of 4 inversions:

 

Piano Keyboard Diagrams

 

Chord Inversion on Piano

Chord inversions are a foundational concept in music theory, helping to explain how chords are built and how they fit into progressions. However, when we talk about chord inversions on a piano keyboard, it’s important to keep in mind that the diagrams we use to show the notes in an inversion might not always match up with practical playing.

In practice, pianists use different voicings and fingerings for chords, spreading the notes out across different octaves and positions on the keyboard. This means that the basic shape of a chord’s inversions as shown in diagrams might not always be the most efficient way to play the chord on a piano keyboard.

So while chord inversion diagrams can help understand the sequence of notes in a chord, they don’t always give us the best way to play the chord on a piano. It’s up to each pianist to experiment with different voicings and find the most comfortable and efficient way to play the chord while still maintaining the intended harmonic function and sound.

 

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Music Theory and Harmony of Db6/9

 

Building the Db6/9 Chord: Different Approaches

Starting from the Db Major Scale

To create a 6/9 chord, you can use the Major scale as a reference by combining a Root, a 3rd, a 5th, a 6th, and a 9th.

In this case, to build a Db6/9 let’s start from the Db Major scale:

 

 

 

Apply the formula R, 3, 5, 6, 9 to get a Db6/9 chord:

1. Select the Root note, which is Db.
2. Pick the 3rd note, which is F, and add it to the chord.
3. Add the 5th note, which is Ab, and include it as well.
4. Now, add the 6th which is Bb.
5. Lastly, include the 9th note of the Db Major scale, which is an Eb.

 

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by Combining Intervals

To build a 6/9 chord, one approach is to combine specific intervals, namely a major 3rd, a minor 3rd, a major 2nd (whole-tone), and a major 3rd.

3 + m3 + 2  + 3 = 6/9 Chords

When constructing a Db6/9 chord, you can see that

• Db-F forms a major 3rd,
• F-Ab creates a minor 3rd,
• Ab-Bb makes a whole-tone interval, and
• B-Eb is a major 3rd.

Stacking these intervals together creates a Db6/9 chord.

 

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How to Use Db 6/9 in a Chord Progression

 

Since 6/9th chords are based on major triads with a sixth and a ninth added, they can substitute the major chords built on the scale of the root. This means that we can use the Db6/9 chord in those positions on the scale where the harmonization makes a major chord.

In some cases, a 6/9 chord can be used as a dominant chord, but it is less common than its use as a tonic or subdominant chord.

The following tables illustrate the harmonization of scales that contain a Db Maj7 or a Db7 chord.

on Major Scales

• Tonic chord in Db Major
• Subdominant chord in Ab Major
• Dominant chord in Gb Major (less common)

on Natural minor Scales

• Mediant chord in Bb minor
• Submediant chord in F minor
• Dominant chord in Eb minor (less common)

 

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Db6/9 Chord Function in Major and Minor Keys

Understanding Scale Degrees

When we harmonize a scale, we use the notes of the scale to create chords. This means that the notes of the chords are all found within the scale itself.

Each note in the scale is assigned a degree, which represents its position in the scale. The degrees of the harmonized diatonic major scale are as follows:

1. Tonic (1st degree): serves as the tonal center or home base of the music and provides a sense of resolution and stability.
2. Supertonic (2nd degree): often serves as a passing tone or a bridge between the tonic and other scale degrees.
3. Mediant (3rd degree): helps to define the overall tonality of the scale (major or minor) and lies midway between the tonic and the dominant.
4. Subdominant (4th degree): often used as a contrasting or complementary harmony to the dominant.
5. Dominant (5th degree): creates tension and a sense of expectation, which is resolved when returning to the tonic.
6. Submediant (6th degree): lies midway between the tonic and the subdominant and often serves as a bridge between the dominant and the tonic.
7. Leading tone (7th degree): one half step below the tonic and creates a strong sense of tension and desire to resolve to the tonic.

 

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Db6/9 in Db Major

Db6/9 can be used instead of a Db Maj or Db Maj7 chord, which is the first chord in the harmonized Db major scale.

In a major key, the I chord (built on the first degree of the major scale) serves as the tonic chord, providing the harmonic center of the chord progression.

 

Db6/9 Chord Progressions as I degree

II V I

 

I IV V

 

I V vi IV

 

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Db6/9 in Ab Major

The Db6/9 chord can also be used as the fourth degree of the Ab major scale as a substitute for the Db Maj7. When applied to the I-IV-V progression, this chord on the fourth degree acts as a transitional chord between the first and fifth degrees.

 

Db6/9 as IV degree – Chord Progressions

Try playing these chord progressions to get an idea of how Db6/9 functions as a substitute for the subdominant (IV degree) in a chord progression.

 

I IV V

 

 I V vi IV

 

I IV vi V

 

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Db6/9 Chord in Gb Major

Another (uncommon) way to use the Db6/9 chord is as a substitution for the dominant chord in the Gb major scale. In this case, the Db6/9 chord functions as a variation of the Db7 chord, serving as the fifth degree of the Gb major scale.

When used in a ii-V-I progression, the Db6/9 chord on the fifth degree can function as the dominant chord that resolves to the first degree.

 

Db6/9 as V degree – Chord Progressions

I prefer resolving the Db6/9 chord to a Db7 chord within the same measure, but I encourage you to explore different options and experiment with other chord progressions to see what sounds best to you.

ii V I

 

I IV vi V

 

 I IV ii V iii vi ii V

 

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Db6/9 in Bb minor

Similarly, in the key of Bb minor, the Db6/9 chord can be used as a substitute for the Db Maj7 chord as the third degree.

 

Db6/9 as III degree – Chord Progressions

These chord progressions show the Db6/9 chord as a substitute for the mediant (III degree) chord.

 

i III

 

i III VII VI

 

Circle Progression

 

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Db6/9 in F minor

Another instance where you can use a Db6/9 chord instead of a Db Maj7 is while playing in the key of F. This is because the Db Maj7 chord we are replacing is located on the sixth degree of the E-sharp minor scale.

 

Db6/9 as VI degree – Chord Progressions

Try playing these chord progressions to get a sense of how a Db6/9 chord can serve as an alternative to a Db Maj7 chord when it functions as the submediant (VI degree) in an F minor scale.

 

i VI VII

 

i v VI VII

 

i III VII VI

 

Circle Progression

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Db6/9 in Eb minor

Using a Db6/9 instead of a Major or Major 7th as the dominant chord is not so common but it is worth mentioning.

 

Db6/9 as VII degree – Chord Progressions

You can try playing these chord progressions to hear how the Db6/9 chord works as a substitute for the subdominant (IV degree) or you can play it with the dominant 7th chord:

 

i VI VII

 

i v VI VII

 

i III VII VI

 

Circle Progression

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Alternative Names for Db6/9

• Db 6/9
• Db 6(9)
• Reb 6/9
• Db 6/9th
• Db add6/9

 

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Conclusion

The chord progressions and examples presented in this post provide a comprehensive overview of the most common uses of the Db6/9 chord. It’s important to note, however, that many advanced harmony-related topics could not be included due to space constraints. These topics include chord progressions built on harmonic and melodic scales, modal scales, hidden tonality, secondary dominants and other chord substitutions, non-functional harmony and atonal music, modal interchange and borrowed chords, voice leading and counterpoint, chromatisms, jazz harmony…I mean, music theory is a huge topic!

Although I couldn’t cover all of these topics in my post, I encourage readers to continue exploring these areas in their study and research. By expanding your knowledge in these advanced areas of music theory, you can gain a deeper understanding of the harmonic possibilities that exist beyond the basics presented here.