F#maj13 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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- Fingers, notes or intervals
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About F#maj13 — drop 3 voicings
F#maj13 is F#, A#, C#, E#, G# and D# — F#maj9 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.
F#maj13 notes and formula
| F# | A# | C# | E# | G# | D# |
|---|---|---|---|---|---|
| 1 | 3 | 5 | 7 | 9 | 13 |
Tonic — the major sound with most of the scale showing.
Also written F#M13, F#Δ13 or F# major 13. The same chord either way; which spelling you meet depends on who wrote the chart.
How to play F#maj13
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#maj13 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 x98866 — no barre. None of the shapes for F#maj13 uses an open string, so every one of them is movable; the lowest sits at the 1st fret. 5 of the 7 need a barre. Together they cover the neck from the 1st fret to the 14th.
| Frets | Where | Bass | Top | Hand |
|---|---|---|---|---|
| 211121 | 1st fret | F#, root position | E# | barred |
| 223342 | 2nd fret | F#, root position | F# | barred |
| x64466 | 4th fret | D#, 13th in the bass | A# | barred |
| x98866 | 6th fret | F#, root position | A# | all fretted |
| x96866 | 6th fret | F#, root position | A# | barred |
| x-9-9-10-11-11 | 9th fret | F#, root position | D# | all fretted |
| 14-13-13-13-14-13 | 13th 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#maj13, root, third and seventh, leaves a string free, and the tones that belong over it are the #11 (B#).
How to use F#maj13
How you get to it. The turn that lands on F#maj13 is G#m7 to C#7 — the ii and the V of F# — and C#7 shares its third and seventh with G#m7, so the hand barely moves between them.
In which keys. Every note of F#maj13 belongs to C# major (the IV, the subdominant), Eb minor (the ♭III), F# major (the I, the tonic) and Bb minor (the ♭VI).
What to play over F#maj13
Every note of F#maj13 is in F# major and F# lydian.
Chords near F#maj13
Change one note of F#maj13 and you have F#maj9 (drop the sixth), F#maj11 (the sixth becomes a fourth), F#69 (drop the major seventh) or F#13 (the major seventh becomes a flat seventh).
F#maj13 is a major chord — root, major third, fifth. Major chords on every root.
On F#maj13’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.