What comprises a 13th chord

John Steele (deceased) · Post by **John Steele (deceased)** » 24 Apr 2005 11:34 am

<BLOCKQUOTE>quote:<HR>
On guitar and steel all you need is three notes.

b7 1 13
<HR></BLOCKQUOTE>

Actually, the most common shell voicing for a 13th chord is (bottom to top) b7, 3rd and 13th.

-John

Bobby Lee · Post by **Bobby Lee** » 24 Apr 2005 10:28 pm

The E13th tuning for steel guitar doesn't have an A in it.

Nate LaPointe · Post by **Nate LaPointe** » 25 Apr 2005 1:33 am

In jazz, we add all/any of the color tones below what is written. (13 means you can add 9, #11, 13)

No one has mentioned the #11 yet. Believe it or not, it is actually a consonate note vs. the dissonant natural 11. I omit the 3rd if adding a natural 11.

I veiw dom7 chords 2 different ways...
1)extentions(9, #11, 13)
2)alterations(b5, #5, b9, #9)
ALL dominant 7 chords have root, 3, and 7 in them. I teach my students to be very aware of 3rd-7th voice leading.

I love voicing a dom7 13 chord with the 7 and 13 a Major 7th apart. It gives you a nice rub.

Tony Prior · Post by **Tony Prior** » 25 Apr 2005 3:01 am

per Joe Pass..

( not the exact words)

The true spelling of a chord is what it is..the tonal characteristics are what you hear and you may prefer to ommit a note or two and just play part of the chord so it actually sounds good and fits within the music you are playing.

New TV show.
Play that Chord..

#1-I can play that chord in 4 notes..

#2-I can play that chord in 3 notes..

Ok #2, PLAY THAT CHORD !

happy monday

t[This message was edited by Tony Prior on 25 April 2005 at 05:15 AM.]

Drew Howard · Post by **Drew Howard** » 25 Apr 2005 4:12 am

John,

You are correct, sir!

Thanks,
Drew

------------------

Drew Howard - website - Fessenden D-10 8/8, Fessenden SD-12 5/5 (Ext E9), Magnatone S-8, N400's, BOSS RV-3

Charles Turpin · Post by **Charles Turpin** » 2 May 2005 11:20 am

In science Theory is the basis of which a question is asked where as Resolution is the answer to the theory. So In theory the whole thing that makes these things possible is the evolution of an Octave. If you play a Ninth or second interval it cliches the main answer or resolution to the problem of the thirteenth chord is the answer. SO instead this makes the 2nd the ninth note so leading from the 2nd note is impossible to get the thirteenth unless you count up thirteen notes from the 2nd note which would then change the essence of the thirteenth chord. If you are determining a chord as a 3 note chord then the notes what ever called must be an octave plus whatever above the root tone. As you come down instead of up on the thirteenth chord in the lower octave along with the root you create more tension to the ear. So the thirteenth chord doesn't have to contain the 11th or the 9th notes depending on on how much tension you want to add to the chord. counting in the lower octave would be the 4th 6th and 2nd notes. In a basic theory then the question is that the higher notes will give more resoultion to the sound over the root tones. SO the use of the thirteenth chord and the makings of it just fairly depends on how much tension you want to add to that chord.In the musicaly sequence you are playing. I hope that answers it .hhahahahhahahaha

------------------