D#maj13 — D# 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 = D#
- 3 = F##
- 5 = A#
- 7 = C##
- 9 = E#
- 13 = B#
- Symbol
- D#maj13
- Root
- D#
- Quality
- Major thirteenth
- Family
- extended
- Notes
- D# F## A# C## E# B#
- 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
- D# · Eb major / C minor key signature
Fingering charts
The library holds 5 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 | D# | 0 | Perfect unison |
| 3 | F## | 4 | Major third |
| 5 | A# | 7 | Perfect fifth |
| 7 | C## | 11 | Major seventh |
| 9 | E# | 2 | Major second |
| 13 | B# | 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 | D# | 1 | D# – F## – A# – C## – E# – B# | 0 4 7 11 2 9 |
| first inversion | F## | 3 | F## – A# – C## – E# – B# – D# | 0 3 7 10 5 8 |
| second inversion | A# | 5 | A# – C## – E# – B# – D# – F## | 0 4 7 2 5 9 |
| third inversion | C## | 7 | C## – E# – B# – D# – F## – A# | 0 3 10 1 5 8 |
| fourth inversion | E# | 9 | E# – B# – D# – F## – A# – C## | 0 7 10 2 5 9 |
| fifth inversion | B# | 13 | B# – D# – F## – A# – C## – E# | 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 | 11-10-10-10-11-10 | D# G C F A# D | 1 3 13 9 5 7 | D# | 1 | 6 |
| 2 | 11-13-12-12-13-13 | D# A# D G C F | 1 5 7 3 13 9 | D# | 2 | 6 |
| 3 | 11-8-8-7-8-8 | D# F A# D G C | 1 9 5 7 3 13 | D# | 4 | 6 |
| 4 | 11-8-10-12-11-10 | D# F C G A# D | 1 9 13 3 5 7 | D# | 4 | 6 |
| 5 | 11-8-12-12-11-8 | D# F D G A# C | 1 9 7 3 5 13 | D# | 4 | 6 |
| 6 | 11-10-12-10-11-8 | D# G D F A# C | 1 3 7 9 5 13 | D# | 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 D#
- ScaleD# major
- ChordD#maj9
- ChordD#
- ChordD#7
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