D13 is a dominant stretched across six different notes: D, F#, A, C, E and B. Its distant voices are and .
On guitar, keep the third and flat seventh, then make room by dropping the root or fifth. The upper voices can carry a jazz cadence around that shell.
Also written Ddom13 or D dominant 13.
D13 in 3rd inversion puts C in the bass instead of D, the 7th of the chord. The notes are the same; what changes is what the bass line does, which is most of why you would reach for it — it lets the lowest voice move by step where the root would have jumped.
6 of D13’s 15 shapes do this:x3443xx3447xx-x-10-9-7-7x-x-10-11-12-14x-x-10-11-12-10x-x-10-11-12-12
In a jazz ii–V–I all three chords usually carry tensions: Am9, D13, Gmaj9 rather than bare sevenths. The thirteenth is the ii’s ninth held over the barline, and it falls a step to the ninth of the I.
Listen for: The ii’s ninth holds as the V’s thirteenth, then falls a whole step to the ninth of the I. Underneath, the guide tones step down as usual.
In which keys. Every note of D13 belongs to E minor and G major.
Contains D13 and adds eleventh.
Adds sharp eleventh, for a dominant sharp-eleventh color.
The common shapes and the derived voicings come from different places, and both are explained in how this site is built.
Shows each chord the way this style would voice it, and marks which of its alternatives belong to the idiom.