Eb13sus4 — Eb 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 = Eb
- 4 = Ab
- 5 = Bb
- b7 = Db
- 13 = C
- 9 = F
- Symbol
- Eb13sus4
- Root
- Eb
- Quality
- Dominant thirteenth suspended fourth
- Family
- suspended
- Notes
- Eb Ab Bb Db C F
- 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
- Eb · Eb major / C 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 | Eb | 0 | Perfect unison |
| 4 | Ab | 5 | Perfect fourth |
| 5 | Bb | 7 | Perfect fifth |
| b7 | Db | 10 | Minor seventh |
| 13 | C | 9 | Major sixth |
| 9 | F | 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 | Eb | 1 | Eb – Ab – Bb – Db – C – F | 0 5 7 10 9 2 |
| first inversion | Ab | 4 | Ab – Bb – Db – C – F – Eb | 0 2 5 4 9 7 |
| second inversion | Bb | 5 | Bb – Db – C – F – Eb – Ab | 0 3 2 7 5 10 |
| third inversion | Db | b7 | Db – C – F – Eb – Ab – Bb | 0 11 4 2 7 9 |
| fourth inversion | C | 13 | C – F – Eb – Ab – Bb – Db | 0 5 3 8 10 1 |
| fifth inversion | F | 9 | F – Eb – Ab – Bb – Db – C | 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 | 11-11-10-10-11-9 | Eb Ab C F Bb Db | 1 4 13 9 5 b7 | Eb | 2 | 6 |
| 2 | 11-13-11-13-13-13 | Eb Bb Db Ab C F | 1 5 b7 4 13 9 | Eb | 2 | 6 |
| 3 | 11-11-11-10-11-8 | Eb Ab Db F Bb C | 1 4 b7 9 5 13 | Eb | 3 | 6 |
| 4 | 11-13-10-10-9-9 | Eb Bb C F Ab Db | 1 5 13 9 4 b7 | Eb | 4 | 6 |
| 5 | 11-13-10-13-14-13 | Eb Bb C Ab Db F | 1 5 13 4 b7 9 | Eb | 4 | 6 |
| 6 | 11-11-11-15-13-13 | Eb Ab Db Bb C F | 1 4 b7 5 13 9 | Eb | 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 Eb
- ScaleEb mixolydian
- ChordEb13
- ChordEb
- ChordEb7
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