F#13 guitar chord
The third voice from the top lowered an octave. The dropped voice becomes the bass, which is why a string is skipped.
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About F#13 — drop 3 voicings
F#13 is F#, A#, C#, E, G# and D# — F#9 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.
F#13 notes and formula
| F# | A# | C# | E | G# | D# |
|---|---|---|---|---|---|
| 1 | 3 | 5 | ♭7 | 9 | 13 |
Dominant — the full V chord.
Also written F#dom13 or F# dominant 13. The same chord either way; which spelling you meet depends on who wrote the chart.
How to play F#13
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.
F#13 has 7 of them, on strings 5-3-2-1 and strings 6-4-3-2, from the 2nd fret up to the 11th — every inversion the chord has: F# in the bass, A# in the bass, E in the bass and D# in the bass. The one to learn first is the D# shape at the 2nd fret.
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 221300 — no barre and 2 open strings. 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 14th.
| Frets | Where | Bass | Top | Hand |
|---|---|---|---|---|
| 221300 | open position | F#, root position | E | 2 open strings |
| 222344 | 2nd fret | F#, root position | G# | barred |
| 242342 | 2nd fret | F#, root position | F# | barred |
| x98870 | 7th fret | F#, root position | F# | 1 open string |
| x-9-8-9-11-11 | 8th fret | F#, root position | D# | all fretted |
| x-9-8-9-9-11 | 8th fret | F#, root position | D# | barred |
| 9-9-9-9-11-11 | 9th fret | C#, 2nd inversion | D# | barred |
| 14-11-13-11-11-12 | 11th fret | F#, root position | E | barred |
| 14-13-13-13-14-12 | 12th fret | F#, root position | E | barred |
The same notes rebuilt from scratch give 2 shell, 11 drop 2 and 24 rootless voicings, each on its own page.
Tensions. A shell of F#13, root, third and seventh, leaves a string free, and the tones that belong over it are the #11 (B#).
How to use F#13
F#13 is the V of B, 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 B.
Voice by voice, F#13 → B. 2 voices move by a semitone, and 2 notes are common to both chords.
| In F#13 | Moves | In B |
|---|---|---|
| F#, the root | stays where it is | F#, the fifth |
| A#, the major third | rises a semitone | B, the root |
| C#, the fifth | falls a whole tone | B, the root |
| E, the flat seventh | falls a semitone | D#, the major third |
| G#, the ninth | falls a whole tone | F#, the fifth |
| D#, the thirteenth | stays where it is | D#, the major third |
In which keys. Every note of F#13 belongs to Ab minor (the ♭VII) and B major (the V, the dominant).
What to play over F#13
Every note of F#13 is in F# mixolydian and F# lydian dominant.
Chords near F#13
Change one note of F#13 and you have F#maj13 (the flat seventh becomes a major seventh), F#69 (drop the flat seventh), F#9 (drop the sixth) or F#9#11 (the sixth becomes a flat fifth).
F#13 is a dominant chord — root, major third, fifth, minor seventh. Dominant seventh chords on every root.
On F#13’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.