F#13 guitar chord
The standard grips this chord is usually shown with.
- Tap a note to hear it
- Arrows change position
- Fingers, notes or intervals
- Play the chord
About F#13 — root position
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
F#13 in root position puts F# in the bass, which is the chord as it is spelled: the note it is named after underneath everything else.
8 of F#13’s 9 common shapes do this: 221300, 222344, 242342, x98870, x-9-8-9-11-11, x-9-8-9-9-11, 14-11-13-11-11-12, 14-13-13-13-14-12.
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, 7 drop 3 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.