Thirteenth

Compound interval of a major thirteenth from F to D in the next octave up
major thirteenth
Inverseminor third
Name
Other namescompound sixth
AbbreviationM13
Size
Semitones21
Interval class3
Cents
12-Tone equal temperament2100.0
Minor thirteenth: F to D
minor thirteenth
Inversemajor third
Name
Abbreviationm13
Size
Semitones20
Interval class4
Cents
12-Tone equal temperament2000.0

In music or music theory, a thirteenth is the note thirteen scale degrees from the root of a chord and also the interval between the root and the thirteenth. The thirteenth is most commonly major or minor .

Dominant thirteenth extended chord: C E G B D F A . The upper structure or extensions, i.e. notes beyond the seventh, in red.

A thirteenth chord is the stacking of six (major or minor) thirds, the last being above the 11th of an eleventh chord.[1] Thus a thirteenth chord is a tertian (built from thirds) chord containing the interval of a thirteenth, and is an extended chord if it includes the ninth and/or the eleventh. "The jazzy thirteenth is a very versatile chord and is used in many genres."[2] Since 13th chords tend to become unclear or confused with other chords when inverted, they are generally found in root position.[3] For example, depending on voicing, a major triad with an added major sixth is usually called a sixth chord , because the sixth serves as a substitution for the major seventh, thus considered a chord tone in such context.

However, Walter Piston, writing in 1952, considered that, "a true thirteenth chord, arrived at by superposition of thirds, is a rare phenomenon even in 20th-century music."[4] This may be due to four-part writing, instrument limitations, and voice leading and stylistic considerations. For example, "to make the chord more playable [on guitar], thirteenth chords often omit the fifth and the ninth."[5]

  1. ^ Benward & Saker (2009), p.360.
  2. ^ Capone, Phil (2006). Guitar Chord Bible: Over 500 Illustrated Chords for Rock, Blues, Soul, Country, Jazz, and Classical, p.48. ISBN 0-7858-2083-3.
  3. ^ Benward & Saker (2009). Music in Theory and Practice: Volume II, p.179. Eighth Edition. ISBN 978-0-07-310188-0.
  4. ^ Piston, Walter (1952). "Harmonic Practice by Roger Sessions". Review. The Musical Quarterly. 38 (3): 463. doi:10.1093/mq/XXXVIII.3.457.
  5. ^ Capone (2006), p.66.

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