Favirite moveable 13th shape?

Whats your favorite moveable shape for a 13th? Trying to learn a good fingering I can apply most anywhere and still get the basic guitar essence for a 13th.

Thanks!

from the 3rd fret (G) :

3
X
3
4
5
5

Such a workhorse chord.

You just need the inside notes...7th, 3rd, and the 13th.

So here is a G13: x x 3 4 5 x

You just need the inside notes...7th, 3rd, and the 13th.

You're right. I only mention the 5-string version as my 'favourite' because it is such a wide voicing. Great for playing solo.

Evan, I can't tell what shape your chord is. Normally, vertical diagrams are high to low, top to bottom, but the easiest way to read it in "text" form is horizontally, low to high, left to right. I'm guessing yours is 3x3455? FWIW, I like 353453 for a six string version and 3x345x for moving around.

I'm really liking 5x5422 (A13). The ninth (on the third string) can be altered relatively easily too.

As mentioned by jazztele, most commonly when comping I'll use the three note 13th voicing.

Thumb fingering the root on string 6.

Instead of thinking about how you are gripping the chord, think of the construction of the chord. With a dom 13, you have the root, 3rd, 5th, 7th, and 13th (You could also include the 9th, and 11th, if you so desired). In essence you have the entire scale at your disposal. The obvious disposable tones are the root and the 5th, also I would stay away from the 11th, because with a dominant chord many times our ears hear the sus4 sound even when we play the 3rd.

So here are some options... You could play as Jeff said the 3rd, 7th, and 6th. You could also play the 7th, 9th, and 6th. You could also voice the 13th sound between the 3rd and 7th, although that may require Ted Greene-esque finger stretching and get the 3rd, 6th, and 7th.

Another thing to think about... Take all of the dominant 7th chord voicings you already know and just move the 5th up a whole step. I have found in learning chord voicings and inversions, you will do so much more efficiently if you start with what you already know and find the most logical path to where you want to go. By the same token, you could learn many versions of a dominant 9th chord by takingthe root and raising it a whole step. Keep in mind that you want to avoid doing this with the bass notes. It is much more cohesive if these changes are happening in the upper and middle voices. Example...you could play X-X-3-4-3-0 and the high E sounds nice, whereas if you played the same chord with an open low E in the bass it may just sound like a hot mess.

I hope some of that helps, I know I have a tendency to ramble.

X67788 - F13

XX9555 - D13

This one's the same as JT's just voiced on a higher string set:
XXX799 - E13 (technically there's no 9th so it's really a 7/6)

X55566 - Bb13

X56586 - Bb13

and for some 'bite' : XX5673 - A13

I'm really liking 5x5422 (A13). The ninth (on the third string) can be altered relatively easily too.


+1. As always, drop the root if it's in the way.

Lots of help everyone! Will try each of these and try to absorb it! Thanks!

I like this one in a trio setting (not a horn player favourite.:lol:.)

C13 - x77333 or x

You guys are way too clever for me.

For A13 I'd stick to:

5x567x

or

5x5422

and for C13:

x32335

or

x1221x (if you're lucky)

Plenty of really cool chords in this thread, but those have got to be the first ones to learn, right?

Evan, I can't tell what shape your chord is.

Cool. Thanks for the chord-convention lesson! ^_^

This voicing has already been shown but here is a nice way of using it in a blues setting to get both a dom13 and dom7#9 from one shape.


So we're working a 12 bar blues in G and we're moving from I to IV.

xx345x (G13) > xx91011x (G7#9) > xx8910x (C13)


The gist of this is that the same shape can be both a dom13 and a dom7#9 with the same root depending on where on the fretboard you grab it. The G13 has it's root on the low E, third fret and the G7#9 has it's root on the fifth string, 10th fret. The G7#9 could also be seen as a Db13 (root on low E, 9th fret)

This is a simple move that will 'jazz up' a 12 bar a little bit. You can see it as either using an altered I7 chord (7#9) to move to the IV or as using tritone substitution (Db13) to move to the IV. Either way it makes it a bit more 'uptown' sounding. And it's dead simple. Bonus!!

xx345x (G13) > xx91011x (G7#9) > xx8910x (C13)


nice!

nice!

I'm embarrased to say that although I've used this move a million times I had always just seen it as a tritone sub. It was only recently that the 7#9 aspect revealed itself to me. Doh!!:oops:

Evan, I can't tell what shape your chord is. Normally, vertical diagrams are high to low, top to bottom, but the easiest way to read it in "text" form is horizontally, low to high, left to right. I'm guessing yours is 3x3455? FWIW, I like 353453 for a six string version and 3x345x for moving around.

I've been playing 353453 for a while, not knowing it was a 13th. I thought it was a sixth, as I am new to jazz chords and theory. I play this shape like a major barre chord, with my pinky on the second string.

I am liking 3x345x because it is similar to a maj7 shape with my index finger on the 5th string root, so that's the first one I'm comprehending.

So much more info here, this is a treasure trove! Gonna take a while to absorb. Thanks so much everybody!

I meant index on 6th string root, sorry!

This is a good one too, this is D13th:

The root is on the 5th string, 4th string is the M3rd, 3rd string is the b7, 2nd string we have the 9th, and high e string we have the 13th. Horn players like this one. Omit the root as needed ;-)

1-----7-----
2-----5-----
3-----5-----
4-----4-----
5-----5-----
6-----------

I've been playing 353453 for a while, not knowing it was a 13th. I thought it was a sixth, as I am new to jazz chords and theory. I play this shape like a major barre chord, with my pinky on the second string.

I am liking 3x345x because it is similar to a maj7 shape with my index finger on the 5th string root, so that's the first one I'm comprehending.

So much more info here, this is a treasure trove! Gonna take a while to absorb. Thanks so much everybody!

Well, that chord is called 6th a lot, but with the dom 7 in there, it's more of a 13th. Some say that without the 9th it's a 7/6. A straight 6th chord would not have the 7th.

I use JT's except I play the root on the sixth. If I were playing with a bass player, though, I'd probably eliminate the root.

Nobody likes this G13?

x8998x

Nobody likes this G13?

x8998x

I don't use it. Can't really say I don't like it.

Nobody likes this G13?

x8998x

That's the same chord as xx3453, which I'm too lazy to check if we've had mentioned before.

EDIT: Maybe, for completeness, when we give a grip we should include its form on other string sets:

G13: xx3453
D13: x3443x
A13: 3442xx

Nobody likes this G13?

x8998x

Yes. I like that one and use it often.
How about this for a I-IV chord change.....

x8998x - G13

x7878x - C9

Nice huh?

Since the original question already has so many great examples, I thought I might add something a little different. But hopefully, some will find it useful.

Here's a nice (Movable) set of Triad Forms I like to use:

These would be something I'd use over a G.

---------------
---3----5------
---4----5------
---5----7------
---------------
---------------

What I like about the "Major Triad with a Minor Triad a Whole Step Up" idea, is that it doesn't contain the 7 at all. So, it works over a 13, or a M13.

I often play with the 2 Triads, Arpeggiating them to create Lines as well.

Since the original question already has so many great examples, I thought I might add something a little different. But hopefully, some will find it useful.

Here's a nice (Movable) set of Triad Forms I like to use:

These would be something I'd use over a G.

---------------
---3----5------
---4----5------
---5----7------
---------------
---------------

What I like about the "Major Triad with a Minor Triad a Whole Step Up" idea, is that it doesn't contain the 7 at all. So, it works over a 13, or a M13.

I often play with the 2 Triads, Arpeggiating them to create Lines as well.

Going for the upper partials, even with just a triad, is a cool sound. I found this Ed Bickert chord turnaround lick lesson by Matt Warnock (http://www.mattwarnockguitar.com/jazz-guitar-lick-video-lesson-ed-bickert-chord-turnaround) very interesting.

If you look at the eight chords:

http://www.mattwarnockguitar.com/images/2012/06/Lick-of-the-Day-Ed-BIckert-Turnaround-Im-Old-Fashioned-JPG.jpg

None of them contain the root and only two contain the fifth. This leaves plenty of spots for extension notes and altered notes.