The standard grips this chord is usually shown with.
Emaj13 is E, G#, B, D#, F# and C# — Emaj9 with the thirteenth on top, and the eleventh left out.
It sounds full and wide open. Six notes into four fingers means something goes: keep the third, the seventh and the thirteenth.

| E | G# | B | D# | F# | C# |
|---|---|---|---|---|---|
| 1 | 3 | 5 | 7 | 9 | 13 |
Tonic — the major sound with most of the scale showing.
Also written EM13, EΔ13 or E major 13. The same chord either way; which spelling you meet depends on who wrote the chart.
Emaj13 in 13th in bass puts C# in the bass instead of E, the 13th 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.
One of Emaj13’s 7 common shapes does this: x42244.
Start with x76644 — no barre and low, at the 4th fret. 1 of the 7 shapes here sits in open position. 5 of the 7 need a barre. Together they cover the neck from the 1st fret to the 14th.
| Frets | Where | Bass | Top | Hand |
|---|---|---|---|---|
| 021122 | open position | E, root position | F# | barred |
| x42244 | 2nd fret | C#, 13th in the bass | G# | barred |
| x76644 | 4th fret | E, root position | G# | all fretted |
| x74644 | 4th fret | E, root position | G# | barred |
| x77899 | 7th fret | E, root position | C# | all fretted |
| 12-11-11-11-12-11 | 11th fret | E, root position | D# | barred |
| 12-12-13-13-14-12 | 12th fret | E, root position | E | barred |
The same notes rebuilt from scratch give 4 shell, 13 drop 2, 9 drop 3, 25 rootless and 4 open string voicings, each on its own page.
Tensions. A shell of Emaj13, root, third and seventh, leaves a string free, and the tones that belong over it are the #11 (A#).
How you get to it. The turn that lands on Emaj13 is F#m7 to B7 — the ii and the V of E — and B7 shares its third and seventh with F#m7, so the hand barely moves between them.
In which keys. Every note of Emaj13 belongs to C# minor (the ♭III), E major (the I, the tonic), Ab minor (the ♭VI) and B major (the IV, the subdominant).
Every note of Emaj13 is in E major and E lydian.
Change one note of Emaj13 and you have Emaj9 (drop the sixth), Emaj11 (the sixth becomes a fourth), E69 (drop the major seventh) or E13 (the major seventh becomes a flat seventh).
Emaj13 is a major chord — root, major third, fifth. Major chords on every root.
On Emaj13’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.
Shows each chord the way this style would voice it, and marks which of its alternatives belong to the idiom.