D m6 is wrong, wrong, wrong. *no*

-- The interval from D to B is not even a minor-sixth, it is major-sixth, M6. -- It should be D Minor with a 6th (spelt Dm-6 ???)

-- But without an established key, there isn't even a 'sixth-interval' because it is an imperfect consonant, it needs either a major or minor designation.

-- So if anything it would be Dm-M6/A, which means D Minor (D-F-A) with a Major-sixth (B) overtop... (D-F-A-B ???)

-- But with A being the lowest note the intervals are actually: P4-P8-M2-m6. That's a 642-chord which is shortened into 42 or 2 for ease of use: google 4/2 chord.



-- Dm-M6 is not a chord built on D Minor (with a B added) because of the very distinct natural drive from B-F to C-E.

-- B-F (diminished-5th) appears in only one key: C/a* which takes a dominant role by establishing tonality (cancelling the possibility of it being in either F or G Major). (*technically also artificial d & e-flat minor)

-- D minor is an intermediate chord not a dominant. ---Very deceptive!

I hope I've made a convincing case against those chord charts.

Don't let it trouble you ElMoreno, follow your ears and write your tunes.

 

Dudes !
You are all right !
If seen from the modi...; it's a Dm6/A .
Naming chords can be tricky, but all depends on what's coming next to make sense...
What the movement is etc...
Although he usses the same idea as traditional music theory, Allan Holdsworth has great ideas too.
Check:
http://www.goodreads.com/book/show/1136469.Just_for_the_Curious

 

Here's a general chordal analysis of your progression:

('superposition' is the register change of E up an octave)
I forgot to label the seventh in F#m7 as ii7, but it's there.

The first progression is a stepwise ascent (aborted before the tonic):


The second progression is a quasi-descending fifths progression:


Play the different tabs on your instrument & compare with the original.
(note: Even though you begin with A, you are in E Major)