“In the world of extended chords, this is as far as we can go”: Demystifying 13th chords, the voicing that Stevie Ray Vaughan used to stunning effect in Lenny

In the world of extended chords, this is as far as we can go. Chords at this end of the spectrum frequently deviate from their strict theoretical definitions in the real world.

An extended chord goes beyond the major (or minor) triad, on to the 7th (or flat/dominant 7th) then 9th, 11th and 13th. In theory, all of these would be present in ascending scale order, but in practice this can lead to some dense, even dissonant, chords. There’s also the issue of playing a seven-note chord on an instrument with six strings...

In the examples below, I attempt to demystify some of the theoretical terms and demonstrate strategies enabling us to play beautiful-sounding 13th chords.

When choosing which notes to omit, the 5th is usually high on the list. In the case of 13th chords, the 11th is very often omitted, too, which is nice for us guitarists because that’s one less note to go searching or stretching for...

Example 1. G13

This G13 omits the 5th (D) and the 11th (C), leaving us with, in ascending order, the Root-b7th-3rd-13th-9th (G-F-B-E-A).

The fifth string is muted, which can make simultaneously playing all the notes tricky, unless you use your picking-hand fingers like Joe Pass (or leave it to the bass player!).

Example 2. G13(b9)

By flattening the 9th at the top of our G13 chord from Example 1, we get a G13(b9). Altered chords such as this are often used to create a ‘tension and release’ effect, resolving to somewhere more harmonious, such as a Cmaj9 or G/C.

In a film soundtrack context, composers often create tension by not resolving chords like this.

Example 3. C13

This C13 gives us a slightly different flavour by featuring the 11th, though we do omit the 3rd (E) and the 5th (G), for practical as well as harmonic reasons.

We are left with Root-11th-b7th-9th-13th (C-F-Bb-D-A) in ascending order. Like all the other examples, this shape is movable to any key.

Example 4. Gm13

This Gm13 consists of Root-5th-b7th-b3rd-13th-9th (G-D-F-Bb-E-A) in ascending order. As with all the examples, it’s not possible to feature all the notes in ascending scale order, and this isn’t necessarily desirable anyway.

The inclusion of the 5th is unusual and completely optional. In a band situation, you may well find yourself omitting the Root and 5th.

Example 5. Emaj13

This Emaj13 takes part of its name from the major 7th it features – a regular E13 features a flat/dominant 7th.

In ascending order, we have Root-3rd-maj7-3rd (again)- 13th (E-G#-D#-G#-C#). We omit the 5th (B), the 9th (F#) and the 11th (A), but what’s left holds up very well – good enough for SRV in Lenny!

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