An open string left ringing against a fretted grip. Because it costs no finger, it sounds a note the closed shape has none left for -- a tension on top, or a pedal root underneath. Either a familiar grip with open strings added, or a shape so sparse the open strings carry the chord. These belong to their key rather than to a shape, so D, A, G and E have many and Eb a handful.
G13 is G, B, D, F, A and E — G9 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.

| G | B | D | F | A | E |
|---|---|---|---|---|---|
| 1 | 3 | 5 | ♭7 | 9 | 13 |
Dominant — the full V chord.
Also written Gdom13 or G dominant 13. The same chord either way; which spelling you meet depends on who wrote the chart.
An open string left ringing against a fretted grip. It costs no finger, so it can sound a note the closed shape has none left for: a tension on top, or a pedal root underneath.
These belong to their key rather than to a shape: they cannot be moved up the neck. D, A, G and E have many; E♭ has a handful.
G13 has 6 of them, on strings 5-4-3-2-1, strings 6-5-4-3-2-1, strings 6-5-4-3-2 and strings 6-4-3-2-1, from the 3rd fret up to the 6th — every inversion the chord has: B in the bass, D in the bass, A in the bass and E in the bass. The one to learn first is the A shape at the 3rd fret, which is the easiest grip here.
Start with 302001 — no barre and 3 open strings. 1 of the 8 shapes here sits in open position. 6 of the 8 need a barre. Together they cover the neck from the 1st fret to the 15th.
| Frets | Where | Bass | Top | Hand |
|---|---|---|---|---|
| 302001 | open position | G, root position | F | 3 open strings |
| 322231 | 1st fret | G, root position | F | barred |
| 333455 | 3rd fret | G, root position | A | barred |
| 353453 | 3rd fret | G, root position | G | barred |
| x-10-9-10-10-12 | 9th fret | G, root position | E | barred |
| x-10-9-10-12-12 | 9th fret | G, root position | E | all fretted |
| 10-10-10-10-12-12 | 10th fret | D, 2nd inversion | E | barred |
| 15-12-14-12-12-13 | 12th fret | G, root position | F | barred |
The same notes rebuilt from scratch give 2 shell, 14 drop 2, 9 drop 3 and 24 rootless voicings, each on its own page.
Tensions. A shell of G13, root, third and seventh, leaves a string free, and the tones that belong over it are the #11 (C#).
G13 is the V of C, 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 C.
Voice by voice, G13 → C. 2 voices move by a semitone, and 2 notes are common to both chords.
| In G13 | Moves | In C |
|---|---|---|
| G, the root | stays where it is | G, the fifth |
| B, the major third | rises a semitone | C, the root |
| D, the fifth | falls a whole tone | C, the root |
| F, the flat seventh | falls a semitone | E, the major third |
| A, the ninth | falls a whole tone | G, the fifth |
| E, the thirteenth | stays where it is | E, the major third |
In which keys. Every note of G13 belongs to C major (the V, the dominant) and A minor (the ♭VII).
Every note of G13 is in G mixolydian and G lydian dominant.
Change one note of G13 and you have Gmaj13 (the flat seventh becomes a major seventh), G69 (drop the flat seventh), G9 (drop the sixth) or G9#11 (the sixth becomes a flat fifth).
G13 is a dominant chord — root, major third, fifth, minor seventh. Dominant seventh chords on every root.
On G13’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.