C#13sus4 — C# dominant thirteenth suspended fourth chord
A dominant thirteenth chord with the third replaced by the fourth. The ninth and the thirteenth are both kept, so the chord is built on five or six notes.
- 1 = C#
- 4 = F#
- 5 = G#
- b7 = B
- 13 = A#
- 9 = D#
- Symbol
- C#13sus4
- Root
- C#
- Quality
- Dominant thirteenth suspended fourth
- Family
- suspended
- Notes
- C# F# G# B A# D#
- Degree formula
1 4 5 b7 13 9- Semitones from the root
0 2 5 7 9 10- Distinct pitch classes
- 6
- Interval structure
- Stacked from the root: 5 semitones, 2 semitones, 3 semitones, 11 semitones, 5 semitones
- Notation
- Written 13sus4. A suspended dominant with the full upper structure, used where the dominant should not commit to major or minor.
- Key
- C# · C# major / A# minor key signature
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 | C# | 0 | Perfect unison |
| 4 | F# | 5 | Perfect fourth |
| 5 | G# | 7 | Perfect fifth |
| b7 | B | 10 | Minor seventh |
| 13 | A# | 9 | Major sixth |
| 9 | D# | 2 | Major second |
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 | C# | 1 | C# – F# – G# – B – A# – D# | 0 5 7 10 9 2 |
| first inversion | F# | 4 | F# – G# – B – A# – D# – C# | 0 2 5 4 9 7 |
| second inversion | G# | 5 | G# – B – A# – D# – C# – F# | 0 3 2 7 5 10 |
| third inversion | B | b7 | B – A# – D# – C# – F# – G# | 0 11 4 2 7 9 |
| fourth inversion | A# | 13 | A# – D# – C# – F# – G# – B | 0 5 3 8 10 1 |
| fifth inversion | D# | 9 | D# – C# – F# – G# – B – A# | 0 10 3 5 8 7 |
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 | 9-9-8-8-9-7 | C# F# A# D# G# B | 1 4 13 9 5 b7 | C# | 2 | 6 |
| 2 | 9-11-9-11-11-11 | C# G# B F# A# D# | 1 5 b7 4 13 9 | C# | 2 | 6 |
| 3 | 9-9-9-8-9-6 | C# F# B D# G# A# | 1 4 b7 9 5 13 | C# | 3 | 6 |
| 4 | 9-11-8-8-7-7 | C# G# A# D# F# B | 1 5 13 9 4 b7 | C# | 4 | 6 |
| 5 | 9-11-8-11-12-11 | C# G# A# F# B D# | 1 5 13 4 b7 9 | C# | 4 | 6 |
| 6 | 9-9-9-13-11-11 | C# F# B G# A# D# | 1 4 b7 5 13 9 | C# | 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 C#
- ScaleC# mixolydian
- ChordC#13
- ChordC#
- ChordC#7
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