Why 13th Chords
As the background to my music theory is more classical in nature, it used to puzzle me when I saw jazz chords like C9, Bb11 or F13. I mean, I knew what a 9th, 11th and 13th note were but I wondered why you'd call a note a 9th rather than a 2nd, or a 13th rather than a 6th and so on.
After all, when you talk about chord, you're normally talking about notes independent of octave. If you describe something as a C7 chord, you're not saying anything about whether the E and Bb are in the same octave or not.
I can't remember when, but the breakthrough came when I realised that a 9th chord isn't just a major triad with the 2nd added, but one with the 2nd and 7th added, an 11th chord is one with the 4th and 7th added.
(just as an aside: the fact 2+7=9 and 4+7=11 here is an unrelated coincidence. An 11th is 4th+octave but due to the 1-based indexing used, you add 7 not 8)
Now yes, I've seen the theory books where they show a C9 as C+E+G+Bb+D and a C11 as C+E+G+Bb+D+F and a C13 as C+E+G+Bb+D+F+A but that really didn't help emphasize that it's the existence of the 7th that makes the the chord sound like (and be described as) a C9, C11 or C13 respectively instead of, say a Csus2, Csus4 or C6.
The 3rd and 7th are really the defining notes of a chord in Jazz, particularly comping on piano where you expect the bass to provide the root. So the final light went off when I saw the closing Jazz riff of Ben Folds Five's Underground notated. There were a bunch of triads that were marked as 13th chords. So, for example, the voicing Eb+A+D was marked as F13.
Note that that voicing has just the 3rd, 7th and 13th. The 13th is also a 6th but by calling the chord F13, it's making it clear the 7th is there as well which gives the chord a very different direction it wants to go. The 7th makes the whole chord want to resolve to a C, which gives the 13th/6th (the D) more of a suspended feel it doesn't have in an F6 chord.
I find not only the 13th chord a great substitute for a 7th now, especially when it's the dominant resolving to the tonic, but I also love the 7th+3rd+13th/6th way of voicing it too.
I know this is Jazz 101 but it was a breakthrough moment for me, anyway :-)
Comments (8)
James Tauber on Sept. 23, 2008:
Agreed (and hence the Eb+A+D voicing of F13) although that's not why 9, 11 and 13 are used in the naming instead of 2, 4 and 6.
Doug Napoleone on Sept. 23, 2008:
I liked it better when only your greek sounded like greek to me ;-)
Brandon Craig Rhodes on Sept. 24, 2008:
This is the first off-topic article ever on "Planet Python" that I've been happy to run across. I had always wondered why they named chords by the added note from "up in the next octave" like that. This was a nice counterbalance to having to read Steve Holden's uninformed comments on the financial industry bailout paraded about on "Planet Python" too. Thanks!
Dan Sickles on Sept. 24, 2008:
Try moving that voicing down chromatically while moving the root up a 4th. Round and round you go alternating between the dominant 13th and #9 chords.
It gets even more fun when you alter the 9th (# and/or flat), #11 and flat 13.
G+F+B+Eb+Bb. Change the Bb to Ab then resolve to C6+9 - C+E+A+D+G
The 11th sounds nice with m7 chords.
This is even more exciting than python ;-)
James Tauber on Sept. 26, 2008:
Thanks Dan, I'll try that out.
I recently noticed that the jazz idiom of combining a descending chromatic scale with a circle of fifths was actually used (invented?) by Mozart in his 40th Symphony.
Nicola Larosa on Sept. 26, 2008:
Insightful, thanks. My bossa nova guitar practice is benefitting already! ;-)
Jim on Sept. 26, 2008:
haha, thank you for this James.Never got it until now.
I was always making the same thoughts arguing with my teachers on how unpractical is the way music is written.
Last Modified: Sept. 23, 2008
Author: James Tauber
Benjamin Smedberg on Sept. 23, 2008:
You rarely place the 9th directly next to the root of the chord, or the 11th next to the 3rd: the dissonance of a minor 2nd is much more jarring than an open dissonance.