F13 is a dominant stretched across six different notes: F, A, C, Eb, G and D. Its distant voices are and .
On guitar, keep the third and flat seventh, then make room by dropping the root or fifth. The upper voices can carry a jazz cadence around that shell.
Also written Fdom13 or F dominant 13.
Drop the third voice from the top an octave instead. The wider gap skips a string, so the muted string is part of the shape.
That result, 3–R–5–7, is the shape usually meant by drop 3. Named by its bass note, as the inversions are here, it is the 1st inversion.
More familiar jazz shapes are drop 3 than drop 2.
In a jazz ii–V–I all three chords usually carry tensions: Cm9, F13, Bbmaj9 rather than bare sevenths. The thirteenth is the ii’s ninth held over the barline, and it falls a step to the ninth of the I.
Listen for: The ii’s ninth holds as the V’s thirteenth, then falls a whole step to the ninth of the I. Underneath, the guide tones step down as usual.
In which keys. Every note of F13 belongs to G minor and Bb major.
Contains F13 and adds eleventh.
Adds sharp eleventh, for a dominant sharp-eleventh color.
The common shapes and the derived voicings come from different places, and both are explained in how this site is built.
Shows each chord the way this style would voice it, and marks which of its alternatives belong to the idiom.