D13 guitar chord
The third voice from the top lowered an octave. The dropped voice becomes the bass, which is why a string is skipped.
- Tap a note to hear it
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- Fingers, notes or intervals
- Play the chord
About D13 — drop 3 voicings
D13 is D, F#, A, C, E and B — D9 with the thirteenth added on top.
It sounds big and open. Six notes will not fit under four fingers: the fifth goes first, then the ninth, and the third, flat seventh and thirteenth stay.
D13 notes and formula
| D | F# | A | C | E | B |
|---|---|---|---|---|---|
| 1 | 3 | 5 | ♭7 | 9 | 13 |
Dominant — the full V chord.
Also written Ddom13 or D dominant 13. The same chord either way; which spelling you meet depends on who wrote the chart.
How to play D13
The same operation one voice further down: the third voice from the top falls an octave and becomes the bass.
That leaves a bigger hole under the top three notes, so a string gets skipped: the muted string in the middle is the shape, not a mistake.
D13 has 8 of them, on strings 6-4-3-2 and strings 5-3-2-1, from open position up to the 10th — every inversion the chord has: D in the bass, F# in the bass, C in the bass and B in the bass. The one to learn first is the F# shape at the nut.
4 of them sit on strings 6-4-3-2, so you can run the inversions up one set without changing strings — which is the whole reason to learn them as a family rather than as separate grips.
Start with xx0412 — no barre and 1 open string. 1 of the 9 shapes here sits in open position. 6 of the 9 need a barre. Together they cover the neck from the 1st fret to the 12th.
| Frets | Where | Bass | Top | Hand |
|---|---|---|---|---|
| xx0412 | open position | D, root position | F# | 1 open string |
| x54577 | 4th fret | D, root position | B | all fretted |
| x54557 | 4th fret | D, root position | B | barred |
| 555577 | 5th fret | A, 2nd inversion | B | barred |
| 10-7-9-7-7-8 | 7th fret | D, root position | C | barred |
| 10-9-0-9-0-8 | 8th fret | D, root position | C | 2 open strings |
| 10-9-9-9-10-8 | 8th fret | D, root position | C | barred |
| 10-10-10-11-12-12 | 10th fret | D, root position | E | barred |
| 10-12-10-11-12-10 | 10th fret | D, root position | D | barred |
The same notes rebuilt from scratch give 3 shell, 12 drop 2, 24 rootless and 6 open string voicings, each on its own page.
Tensions. A shell of D13, root, third and seventh, leaves a string free, and the tones that belong over it are the #11 (G#).
How to use D13
D13 is the V of G, and that is where it goes if it goes anywhere: the third and the flat seventh are a tritone apart, and both resolve by a semitone into G.
Voice by voice, D13 → G. 2 voices move by a semitone, and 2 notes are common to both chords.
| In D13 | Moves | In G |
|---|---|---|
| D, the root | stays where it is | D, the fifth |
| F#, the major third | rises a semitone | G, the root |
| A, the fifth | falls a whole tone | G, the root |
| C, the flat seventh | falls a semitone | B, the major third |
| E, the ninth | falls a whole tone | D, the fifth |
| B, the thirteenth | stays where it is | B, the major third |
In which keys. Every note of D13 belongs to E minor (the ♭VII) and G major (the V, the dominant).
What to play over D13
Every note of D13 is in D mixolydian and D lydian dominant.
Chords near D13
Change one note of D13 and you have Dmaj13 (the flat seventh becomes a major seventh), D69 (drop the flat seventh), D9 (drop the sixth) or D9#11 (the sixth becomes a flat fifth).
D13 is a dominant chord — root, major third, fifth, minor seventh. Dominant seventh chords on every root.
On D13’s sound and use this page follows Ted Pease & Ken Pullig, Modern Jazz Voicings (Berklee Press, 2001). The shapes and the derived voicings come from different places, and both are explained in where the chords and the theory come from.