Construction
| Note | Interval | Degree |
|---|---|---|
| D♯ | Root | 1 |
| F♯ | Minor 3rd | ♭3 |
| A♯ | Perfect 5th | 5 |
| B♯ | Major 6th | 6 |
Fingering
| Note | Key color | Right hand | Left hand |
|---|---|---|---|
| D♯ | black | index finger (2) | little finger (5) |
| F♯ | black | middle finger (3) | ring finger (4) |
| A♯ | black | ring finger (4) | middle finger (3) |
| B♯ | white | little finger (5) | index finger (2) |
Right hand: index finger (2) on D♯, middle finger (3) on F♯, ring finger (4) on A♯, little finger (5) on B♯.
Left hand: little finger (5) on D♯, ring finger (4) on F♯, middle finger (3) on A♯, index finger (2) on B♯.
D♯ Minor 6th Inversions
- Root positionD♯ – F♯ – A♯ – B♯
- 1st inversion (D♯m6/F♯)F♯ – A♯ – B♯ – D♯
- 2nd inversion (D♯m6/A♯)A♯ – B♯ – D♯ – F♯
- 3rd inversion (D♯m6/B♯)B♯ – D♯ – F♯ – A♯
Key Signature
A chord has no key signature of its own, but the D♯ Minor 6th is the tonic (i) chord of D♯ Minor, which shares the signature of its relative major, F♯ Major: 6 sharps (F♯, C♯, G♯, D♯, A♯, E♯).
Order of sharps
Sharps are added to a key signature in a fixed order. Each new sharp key adds the next sharp on the list.
Mnemonic: Father Charles Goes Down And Ends Battle
Chords in the Key of D♯ Minor
These are the triads built on each degree of D♯ Minor:
Scales That Include the D♯ Minor 6th
- Db Major (ii)
- Bb Minor (iv)
- Eb Dorian (i)
- F Phrygian (vii)
- Gb Lydian (vi)
- Ab Mixolydian (v)
- Bb Aeolian (iv)
- C Locrian (iii)
Same Notes, Other Names
The notes D♯ – F♯ – A♯ – B♯ aren’t exclusive to this chord. Depending on which note is the bass and how the chord functions, the same pitches also spell:
D♯ Minor 6th : Frequently Asked Questions
What is the D♯ Minor 6th chord on piano?
What is the D# piano chord?
What notes are in the D# Minor 6th chord?
How is the D# Minor 6th chord used in music?
What is the fingering for D# Minor 6th?
What are the inversions of D# Minor 6th?
What is the descending chromatic line?
D♯ Minor 6th in detail
Exact
Every pitch class is present and nothing outside the chord is added.
| Type | Notes | Semitones | Span | Omissions and additions | Set relation | Fit |
|---|---|---|---|---|---|---|
| Close, root position | D♯3 F♯3 A♯3 B♯4 | 9 | 124 mm | none | identical | |
| Close, first inversion | F♯3 A♯3 B♯4 D♯4 | 9 | 124 mm | none | identical | |
| Close, second inversion | A♯3 B♯4 D♯4 F♯4 | 8 | 110 mm | none | identical | |
| Close, third inversion | B♯4 D♯4 F♯4 A♯4 | 10 | 138 mm | none | identical | |
| Drop 2 | A♯2 D♯3 F♯3 B♯4 | 14 | 193 mm | none | identical | |
| Drop 3 | F♯2 D♯3 A♯3 B♯4 | 18 | 248 mm | none | identical | |
| Drop 2 and 4 | D♯2 A♯2 F♯3 B♯4 | 21 | 289 mm | none | identical |
Reduced
A subset of the pitch classes: the identity is incomplete rather than altered.
| Type | Notes | Semitones | Span | Omissions and additions | Set relation | Fit |
|---|---|---|---|---|---|---|
| Shell, root 6 ♭3 | D♯2 B♯3 F♯3 | 15 | 206 mm | omits A♯ | subset | |
| Guide tones, ♭3 and 6 | F♯3 B♯4 | 6 | 83 mm | omits D♯ and A♯ | subset | |
| Rootless close | F♯3 A♯3 B♯4 | 6 | 83 mm | omits D♯ | subset |
Spans are measured centre to centre at a 165 mm octave (standard keyboard geometry).
| Position | Bass note | Notes in order | Figured bass | Semitones | Span |
|---|---|---|---|---|---|
| Root position | D♯ | D♯3, F♯3, A♯3, B♯4 | 7 | 9 | 124 mm |
| First inversion: D♯m6/F♯ | F♯ | F♯3, A♯3, B♯4, D♯4 | 6/5 | 9 | 124 mm |
| Second inversion: D♯m6/A♯ | A♯ | A♯3, B♯4, D♯4, F♯4 | 4/3 | 8 | 110 mm |
| Third inversion: D♯m6/B♯ | B♯ | B♯4, D♯4, F♯4, A♯4 | 4/2 | 10 | 138 mm |
One position per chord tone in the bass. Spans are for close position: voiced inversions appear under Voicings.
| Progression | Key | Role | Sequence | Voice leading |
|---|
Root motion, common tones and voice displacement are computed from pitch class sets. Roman numerals follow common practice functional harmony.
Change one note
Chords a single note away, and what moving that note does.
| Chord | Change | Formula | Common tones |
|---|---|---|---|
| D♯m | drops B♯ | 1 ♭3 5 | 3 |
| D♯m7 | B♯ becomes C♯ | 1 ♭3 5 ♭7 | 3 |
| D♯mMaj7 | B♯ becomes C× | 1 ♭3 5 7 | 3 |
| D♯dim7 | A♯ becomes A | 1 ♭3 ♭5 ♭♭7 | 3 |
| D♯6 | F♯ becomes F× | 1 3 5 6 | 3 |
| D♯m9 | B♯ becomes C♯, E♯ | 1 ♭3 5 ♭7 9 | 3 |
| D♯ | F♯, B♯ becomes F× | 1 3 5 | 2 |
| D♯dim | A♯, B♯ becomes A | 1 ♭3 ♭5 | 2 |
| D♯sus2 | F♯, B♯ becomes E♯ | 1 2 5 | 2 |
| D♯sus4 | F♯, B♯ becomes G♯ | 1 4 5 | 2 |
| D♯maj7 | F♯, B♯ becomes F×, C× | 1 3 5 7 | 2 |
| D♯7 | F♯, B♯ becomes F×, C♯ | 1 3 5 ♭7 | 2 |
Frequencies
| Note | MIDI | Frequency |
|---|---|---|
| D♯3 | 51 | 155.56 Hz |
| F♯3 | 54 | 185.00 Hz |
| A♯3 | 58 | 233.08 Hz |
| B♯4 | 60 | 261.63 Hz |
Reference pitch A440, 12-TET, close root position.
Set theory: prime form, Forte number, interval vector
- Absolute pitch class set
- {3, 6, 10, 0}
- Normal order
- [10, 0, 3, 6]
- Prime form
- (0258)
- Forte number
- 4-27
- Interval vector
- <012111>
| Pair | Interval | Semitones | Interval class |
|---|---|---|---|
| D♯ to F♯ | Minor third | 3 | 3 |
| D♯ to A♯ | Perfect fifth | 7 | 5 |
| D♯ to B♯ | Major sixth | 9 | 3 |
| F♯ to A♯ | Major third | 4 | 4 |
| F♯ to B♯ | Tritone | 6 | 6 |
| A♯ to B♯ | Major second | 2 | 2 |
Where these facts come from
Every value on this page is derived from the note formula for a minor 6th applied to the root D♯, using standard music theory. Nothing here is hand-entered per chord, so the notes, intervals, inversions and frequencies cannot drift out of agreement with each other. Pitches assume 12-TET at A440.