The B6 bass chord contains B, D#, F#, G#. On bass it is outlined with the arpeggio B, F#, B, D# — root, 5th, root, 3rd. As a major 6th chord it has a distinct job in a progression, and this page explains that job alongside the fingerings, the notes and the practice steps that make it stick.
What notes are in the B6 chord?
The B6 chord is a major 6th chord, and its notes are fixed: B, D#, F#, G#. Every voicing on every instrument uses these same notes, in some order and in some octave — change one of them and you are playing a different chord. The table below lists each note with its interval from the root B, so you can see the structure of B6 at a glance. On the bass, the arpeggio B, F#, B, D# outlines B6 one note at a time.
| Note | Interval |
|---|---|
| B | Root |
| D# | 3 |
| F# | 5 |
| G# | 6 |
The root is B, the note the chord is named after and the note your ear hears as home. Above it, the intervals in B6 are 3, 5, 6. Once you know the intervals, you can build B6 from any root by counting the same semitone steps, which is how the chord works in every key. On the bass, the notes appear in the order the fingering dictates, but the set of notes never changes.
B6 sounds mellow and open, a major chord with an extra note that adds warmth without adding tension. Listen for that character when you play it — if B6 does not sound that way, one of the notes is probably wrong, and the table above is the place to check. On the bass, B6 is the arpeggio B, F#, B, D# — root, 5th, root, 3rd — and that order is the shape to learn.
Comparing B6 with its closest relatives helps to fix it in your ear. In short, 6th against major 7th: B6 adds the 6th G#; the major 7th chord adds A# instead. The 6th sounds warmer and more old-fashioned; the 7th sounds dreamier. Hearing the comparison matters more than reading it: play B6, then play the chord it is compared with above, and let your ear find the note that changed. On the bass, the arpeggio B, F#, B, D# outlines B6 one note at a time.
How to play B6 on bass
On the bass, B6 is not played as a full chord shape the way it is on guitar or piano. Instead you outline it with an arpeggio: the notes B, F#, B, D#, which are the chord tones of B6 in the order root, 5th, root, 3rd. That pattern is the working shape for this chord on bass, and it tells the listener exactly which chord is sounding, even though you never play all the notes at once.
Practise the arpeggio of B6 by playing B on beat one, F# on beat two, B on beat three and D# on beat four, one note per beat, letting each note ring for its full value. Then play it backwards — D#, B, F#, B — so your fingers learn the shape in both directions. The root B is the anchor: it is the note the rest of the band listens for, so land on it cleanly and on time, and let the 5th F# and the 3rd D# colour the bar without pulling attention away from the root.
Once the straight arpeggio of B6 is comfortable, try playing just the root B and the 5th F# for a whole bar, then add the 3rd D# on the last beat as a passing colour. That root-and-5th skeleton is how most bass lines outline B6 in a real song, and the full arpeggio is the version you use when the arrangement has space for it. Check the notes with the Bass Chord Finder and the Chord Finder, and practise the arpeggio against a slow metronome so the notes land exactly on the beat.
Common mistakes
These are the mistakes that most often make B6 sound wrong on the bass, and each one has a concrete fix. Work through them one at a time rather than trying to fix everything at once.
Voicing it too low. The 6th sits close to the 5th and 7th in low octaves and can sound muddy. Spread the notes out. On the bass, B6 is the arpeggio B, F#, B, D# — root, 5th, root, 3rd — and that order is the shape to learn.
Playing the arpeggio as a chord. Strumming all the notes of B6 at once on bass sounds muddy and hides the root. Play the arpeggio one note at a time, let each note ring, and keep the root B as the note the listener hears first. On the bass, B6 is the arpeggio B, F#, B, D# — root, 5th, root, 3rd — and that order is the shape to learn.
Confusing the 6th with the 7th. The added note here is G#, a whole step above the 5th, not the 7th. Play A# and you have a different chord. On the bass, play B, F#, B, D# and hear how the arpeggio spells out B6 without ever playing it as a block.
Burying the 6th. G# is the colour note of this chord. If it is muted or too quiet, the chord is just a major triad and the vintage warmth is gone. On the bass, B6 is the arpeggio B, F#, B, D# — root, 5th, root, 3rd — and that order is the shape to learn.
Where B6 is used
B6 is not a diatonic triad in any major or minor key, because it is an extended or altered chord, but its base triad belongs to the key of E major, the key of F# major, the key of B major. the I or IV chord in major keys, giving a progression a vintage, relaxed feel. As a dominant-type chord it also points toward E major, the key a perfect fourth above B, which is the tonic it most often resolves to. That is where B6 does its work: not as a home chord, but as a chord that creates movement and then resolves. On the bass, play B, F#, B, D# and hear how the arpeggio spells out B6 without ever playing it as a block.
Because B6 is an extended or altered chord, it appears in progressions as a colour or a dominant rather than as a diatonic staple. Try it in place of the plain B triad in a progression you already know, and listen to how the extra notes change the feel — that substitution is the usual way extended chords enter real music. The Chord Progression Builder lets you try B6 in a progression in any key and hear how it connects to the chords around it. On the bass, play B, F#, B, D# and hear how the arpeggio spells out B6 without ever playing it as a block.
The same chord on other instruments is covered in B6 on guitar, B6 on piano, B6 on ukulele, and the scales that fit over it are the B major scale and the B minor pentatonic scale. Learning B6 on the bass and then checking it on another instrument is one of the best ways to fix the notes — B, D#, F#, G# — in your memory, because the notes stay the same while everything else changes.
Practising B6
A short worked example makes B6 concrete. Play the four-chord progression E – B – C#m – A in E major, the key B6 most often resolves toward: E – B – C#m – A. Play each chord for one bar at a slow tempo, and listen to how B6 sounds in that sequence — whether it feels like home, like a lift, or like a chord on its way somewhere else. Then play the same four chords in a different order, starting on B6 itself, and notice how its character changes when it opens the progression instead of sitting inside it. On the bass, B6 is the arpeggio B, F#, B, D# — root, 5th, root, 3rd — and that order is the shape to learn.
For a second exercise, play B6 and then the chord a fourth above B, back and forth, four times each. That move — a chord and the chord a fourth above it — is the most common resolution in Western music, and it is the move B6 is built for when it acts as a dominant. Finish by playing B6 on its own, slowly, and naming each note out loud as you play it: B, D#, F#, G#. Naming the notes while you play them is what turns a shape into knowledge you can use in any key. Test yourself with the Practice Chord Quiz and keep time with the Metronome as the tempo rises. On the bass, B6 is the arpeggio B, F#, B, D# — root, 5th, root, 3rd — and that order is the shape to learn.
Frequently asked questions
Is B6 a major chord?
Yes. B6 is a major triad (B, D#, F#) with the 6th G# added. It sounds major, warm and a little nostalgic. On the bass, the arpeggio above shows where that note sits.
What is the difference between B6 and Bmaj7?
B6 adds the 6th G#; Bmaj7 adds the major 7th A#. The 6th chord sounds warmer and more old-fashioned, the maj7 sounds dreamier and more modern. On the bass, the arpeggio above shows where that note sits.
How do you play B6 on the bass?
Outline it with the arpeggio B, F#, B, D#: root, 5th, root, 3rd. Play one note per beat, with the root B on beat one, and let each note ring. That arpeggio tells the listener exactly which chord is sounding, even though you never play all the notes of B6 at once.
What notes are in the B6 bass arpeggio?
The arpeggio is B, F#, B, D#. It starts on the root B, moves to the 5th F#, returns to the root B and finishes on the 3rd D#. Those four notes are the chord tones of B6, and playing them in that order is the standard way to outline the chord on bass.
Should you play the full B6 chord on bass?
Usually not. On bass the chord is outlined with the arpeggio B, F#, B, D#, not strummed as a block. Playing all the notes at once sounds muddy in the low register and hides the root, which is the note the rest of the band is listening for.