A#maj13 — A# major thirteenth chord
A major seventh chord with the ninth and the thirteenth added. The eleventh is normally left out because it clashes with the major third.
- 1 = A#
- 3 = C##
- 5 = E#
- 7 = G##
- 9 = B#
- 13 = F##
- Symbol
- A#maj13
- Root
- A#
- Quality
- Major thirteenth
- Family
- extended
- Notes
- A# C## E# G## B# F##
- Degree formula
1 3 5 7 9 13- Semitones from the root
0 2 4 7 9 11- Distinct pitch classes
- 6
- Interval structure
- Stacked from the root: 4 semitones, 3 semitones, 4 semitones, 3 semitones, 7 semitones
- Notation
- Written maj13. A tonic chord in jazz voicing; in practice the fifth is often dropped so the seventh and thirteenth can sit close together.
- Key
- A# · Bb major / G minor key signature
Fingering charts
The library holds 6 fingerings of this chord and all of them are shown, in the library’s own order. Several fingerings of one chord is normal: the same notes can be stopped at different positions and on different strings.
Formula
The chord tones in order from the root, with the interval each one forms above it.
| Degree | Note | Semitones | Interval from the root |
|---|---|---|---|
| 1 | A# | 0 | Perfect unison |
| 3 | C## | 4 | Major third |
| 5 | E# | 7 | Perfect fifth |
| 7 | G## | 11 | Major seventh |
| 9 | B# | 2 | Major second |
| 13 | F## | 9 | Major sixth |
Inversions
An inversion is the same set of notes with a different one in the bass. The last column gives the distance of each note above the bass note, in semitones.
| Inversion | Bass note | Degree in the bass | Notes above the bass | Semitones above the bass |
|---|---|---|---|---|
| root position | A# | 1 | A# – C## – E# – G## – B# – F## | 0 4 7 11 2 9 |
| first inversion | C## | 3 | C## – E# – G## – B# – F## – A# | 0 3 7 10 5 8 |
| second inversion | E# | 5 | E# – G## – B# – F## – A# – C## | 0 4 7 2 5 9 |
| third inversion | G## | 7 | G## – B# – F## – A# – C## – E# | 0 3 10 1 5 8 |
| fourth inversion | B# | 9 | B# – F## – A# – C## – E# – G## | 0 7 10 2 5 9 |
| fifth inversion | F## | 13 | F## – A# – C## – E# – G## – B# | 0 3 7 10 2 5 |
Playable voicings
These shapes were found by searching the fretboard of a standard-tuned guitar (E A D G B E) rather than copied from a chord book. The search allows every string to sound or to be muted, rejects any shape with a muted string between two sounding strings, rejects any shape whose fretted notes span more than four frets (a five-fret window), requires every chord tone to be present, and then sorts what remains with root-position shapes first and the most compact, lowest shapes next. The shapes shown are the first six of that ordering; other orderings are possible at the same frets.
| # | Shape (low string first) | Notes | Degrees | Bass | Span (frets) | Sounding strings |
|---|---|---|---|---|---|---|
| 1 | 6-5-5-5-6-5 | A# D G C F A | 1 3 13 9 5 7 | A# | 1 | 6 |
| 2 | 6-8-7-7-8-8 | A# F A D G C | 1 5 7 3 13 9 | A# | 2 | 6 |
| 3 | 6-3-3-2-3-3 | A# C F A D G | 1 9 5 7 3 13 | A# | 4 | 6 |
| 4 | 6-3-5-7-6-5 | A# C G D F A | 1 9 13 3 5 7 | A# | 4 | 6 |
| 5 | 6-3-7-7-6-3 | A# C A D F G | 1 9 7 3 5 13 | A# | 4 | 6 |
| 6 | 6-5-7-5-6-3 | A# D A C F G | 1 3 7 9 5 13 | A# | 4 | 6 |
Shape numbers run from the lowest string to the highest, so the left-hand number is the sixth string (low E) in standard tuning. Multiple shapes are listed because a chord can be voiced several ways, and because a lower position is not always the better sounding one.
Related chords and scales
- KeyEverything in A#
- ScaleA# major
- ChordA#maj9
- ChordA#
- ChordA#7
Related
- ChordA#maj9 — Major ninth
- ChordA# — Major
- ChordA#7 — Dominant seventh
- ChordA#11 — Dominant eleventh
- ChordA#13 — Dominant thirteenth
- ChordA#9 — Dominant ninth
- DegreesBb — degree map
- Neck mapBb — note map