G#13 — G# dominant thirteenth chord
A dominant seventh chord with the ninth and the thirteenth added. The eleventh is left out because it clashes with the third; with the eleventh included the chord has seven distinct notes.
- 1 = G#
- 9 = A#
- 3 = B#
- 5 = D#
- 13 = E#
- b7 = F#
- Symbol
- G#13
- Root
- G#
- Quality
- Dominant thirteenth
- Family
- extended
- Notes
- G# A# B# D# E# F#
- Degree formula
1 9 3 5 13 b7- Semitones from the root
0 2 4 7 9 10- Distinct pitch classes
- 6
- Interval structure
- Stacked from the root: 2 semitones, 2 semitones, 3 semitones, 2 semitones, 1 semitones
- Notation
- Written 13. Common as a final chord in blues, and as a dominant with colour in jazz.
- Key
- G# · Ab major / F minor key signature
Fingering charts
The library holds 4 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 | G# | 0 | Perfect unison |
| 9 | A# | 2 | Major second |
| 3 | B# | 4 | Major third |
| 5 | D# | 7 | Perfect fifth |
| 13 | E# | 9 | Major sixth |
| b7 | F# | 10 | Minor seventh |
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 | G# | 1 | G# – A# – B# – D# – E# – F# | 0 2 4 7 9 10 |
| first inversion | A# | 9 | A# – B# – D# – E# – F# – G# | 0 2 5 7 8 10 |
| second inversion | B# | 3 | B# – D# – E# – F# – G# – A# | 0 3 5 6 8 10 |
| third inversion | D# | 5 | D# – E# – F# – G# – A# – B# | 0 2 3 5 7 9 |
| fourth inversion | E# | 13 | E# – F# – G# – A# – B# – D# | 0 1 3 5 7 10 |
| fifth inversion | F# | b7 | F# – G# – A# – B# – D# – E# | 0 2 4 6 9 11 |
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 | 4-3-3-3-4-2 | G# C F A# D# F# | 1 3 13 9 5 b7 | G# | 2 | 6 |
| 2 | 4-6-4-5-6-6 | G# D# F# C F A# | 1 5 b7 3 13 9 | G# | 2 | 6 |
| 3 | 4-3-4-3-4-1 | G# C F# A# D# F | 1 3 b7 9 5 13 | G# | 3 | 6 |
| 4 | 4-1-3-5-4-2 | G# A# F C D# F# | 1 9 13 3 5 b7 | G# | 4 | 6 |
| 5 | 4-1-4-5-4-1 | G# A# F# C D# F | 1 9 b7 3 5 13 | G# | 4 | 6 |
| 6 | 4-6-3-5-7-6 | G# D# F C F# A# | 1 5 13 3 b7 9 | G# | 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 G#
- ScaleG# mixolydian
- ChordG#9
- ChordG#7
Related