A 13th chord is, in theory, seven notes. Every note of the major scale, stacked as thirds. In practice, no one plays all seven — and the question “which notes to leave out?” is the entire craft of voicing a 13th chord on piano. This page covers the three types of 13 chords and the drop rules pianists have been using for a hundred years.
A thirteenth chord stacks a 13th on top of an 11th on top of a 9th on top of a 7th. In C, the 13th is A — the 6th scale degree played an octave higher.
In theory, a full C major 13 has seven notes:
Cmaj13: C – E – G – B – D – F – A
C13 (dominant): C – E – G – B♭ – D – F – A
Cm13: C – E♭ – G – B♭ – D – F – A
The 13 is the biggest extension in tonal harmony. Any notes added beyond it are just repetitions of existing notes an octave higher. Once you understand 13 chords, you’ve reached the top of the extension ladder.
Seven notes, ten fingers. You could theoretically play a full 13 chord — but it would sound like a smear. The craft is choosing what to drop.
The order of dropping
The must-keep notes:
Classic rootless 13 (when playing with a bassist):
RH: E – A – B♭ – D (3rd, 13th, ♭7, 9th)
Classic solo-piano C13:
LH: C – B♭ (root + ♭7, shell)
RH: E – A – D (3rd, 13th, 9th)
Formula: 1 – 3 – 5 – 7 – 9 – (11 dropped) – 13 · Symbol: Cmaj13, CM13, C△13
Major 13 chords are lush, wide-open, cinematic. They’re what happens when a major 9 grows up and decides it wants to sound like 1970s Brazilian jazz. The 11th is dropped for the avoid-note reason. For a brighter color, substitute ♯11 for the 11: Cmaj13(♯11) — this is the Steely Dan / Pat Metheny sound.
LH: C – B (root + maj7)
RH: E – A – D (3rd, 13th, 9th)
Formula: 1 – 3 – 5 – ♭7 – 9 – (11 dropped) – 13 · Symbol: C13
The workhorse of extended chords. Dominant 13 chords are the sound of soul, gospel, funk, and modern R&B. They combine the forward-motion of a dominant 7 with the openness of full extensions. The 11th is dropped (avoid-note rule).
Rootless (playing with a bassist) — the gold standard:
RH: E – A – B♭ – D (3rd, 13th, ♭7, 9th)
Shell + upper structure (for the Lydian dominant sound):
LH: C – B♭ (shell)
RH: D major triad (D – F♯ – A)
The D major triad encodes the 9 (D), ♯11 (F♯), and 13 (A) — technically C13(♯11). Upper structures deep dive →
Formula: 1 – ♭3 – 5 – ♭7 – 9 – 11 – 13 · In C: C – E♭ – G – B♭ – D – F – A · Symbol: Cm13
Minor 13 is the rarest of the three. The natural 13 (A) forms a tritone interval with the ♭3 (E♭) — consonant in some contexts, harsh in others. Most pianists use Cm11 as their “full” minor extended chord and only add the 13 when the melody specifically calls for it.
m13 works best in Dorian mode pieces — Dorian has a natural 13 (A), which makes m13 sound natural. Natural/Aeolian minor has a ♭13 (A♭), which wouldn’t be included in a standard “minor 13” chord.
LH: C – B♭ (shell)
RH: E♭ – A – D (♭3, 13th, 9th)
The voicing deliberately separates the ♭3 (E♭) from the 13 (A) by more than an octave, which softens the tritone feel.
Major-3rd chords drop the 11; minor-3rd chords don’t have to. This side-by-side reveals the whole pattern at once.
Week 1: Rootless C13 in all 12 keys. Just the right-hand voicing: 3 – 13 – ♭7 – 9 (for C13: E – A – B♭ – D). Play it in every key. The shape stays the same; only the starting note moves.
Week 2: Shell + color for Cmaj13 and Cm13. Left hand root + 7. Right hand 3 + 13 + 9 (major) or ♭3 + 13 + 9 (minor).
Week 3: ii-V-I with 13s. In every key.
Week 4: Melody comping. Pick a jazz standard with a melody that sits on chord tones. Play the melody in the right hand, comp 13 voicings in the left.
Including all seven notes.
Never happens in real piano playing. Learn the drop rules.
Keeping the 11th on Cmaj13.
Avoid-note. Either drop it or sharpen it to F♯.
Playing m13 when you meant m11.
If your melody doesn't have the 13 in it, you probably want m11. m13 is a melodic choice, not a default.
Voicing all 13 chords in closed position.
Open voicings breathe. Rootless voicings travel light. Use them.
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