Db13 Piano Chord

Piano Diagram of Db13 in Root Position

Db13 is a chord that includes the root note Db, a major third (F), a perfect fifth (Ab), a minor seventh (Cb), a major ninth (Eb), an eleventh (Gb), and a 13th (Bb). It’s similar to a 6th chord since the 13th is a 6th at a higher octave but also includes a minor 7th, major 9th, and 11th.

 

Playing Extended Chords on Piano

Extended chords are commonly used in piano playing, but they can be tricky to play in their entirety due to the large number of notes involved. To make these chords more manageable, pianists often omit certain notes, such as the root or the 5th. Another technique is to split the chord between both hands, playing either full or partial chords in each hand.

How to play a Db13

One approach to playing the Db13 chord is by playing the root note Db with your left hand then, with your right hand, you can play the minor 7th note Cb (B), the 9th note Eb, and the 13th note Bb. This will result in a simplified Db13 chord that only includes the root note, minor 7th, 9th, and 13th notes.

Db + Cb, Eb, Bb

Alternatively, you can play the root note with your left hand and an inversion of the chord with the 7th note (Cb), the 3rd note (F), and the 13th note (Bb) with your right hand.

Db + Cb, F, Bb

However, even when notes are omitted or split between hands, extended chords can still create complex and dense harmonies. When these chords are inverted, the resulting clusters of notes can be particularly challenging to voice effectively.

 

Db13 Chord Inversions

 

The Db13 chord has a total of 6 inversions:

Piano Keyboard Diagrams

 

Chord Inversions on Piano

Understanding chord inversions is an essential aspect of music theory as it helps to explain how chords are arranged. When playing chord inversions on a piano, it’s important to keep in mind that the diagrams used to illustrate the order of notes may not always be practical or even possible to play.

To achieve the proper chord voicings on a piano, you need to distribute the notes of the chord across various octaves and positions on the keyboard. This often means that the basic shape of the chord’s inversions shown in diagrams may not be the most convenient or comfortable way to play the chord.

While chord inversion diagrams can be useful in comprehending the structure and sequence of notes in a chord, it’s always a good idea to try out different voicings and fingerings to discover the most efficient and comfortable way to play the chord, while still maintaining its intended harmonic function and sound.

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Music Theory and Harmony of Db13

 

The Db13 chord is an extension of the Db7 chord and is used on the V and VII degrees of major and natural minor scales, respectively. It can be used in all the positions where Db7 can be played, but a more common use is to play it in conjunction with the dominant chord. However, it’s important to note that some positions may not work as well as others when using Db13 instead of Db7.

If you want to experiment with using Db13 as an alternative to Db7, you can start by checking out the Db7 chord page for ideas on where to begin. Trying out the Db13 chord in different positions can help you understand which ones work well and which ones may not be as effective.

 

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Building the Db13 Chord: Different Approaches

Starting from the Db Major Scale

To form a 13th chord, you combine the root, the major 3rd, the 5th, the minor 7th, the major 9th, the 11th, and the 13th from a major scale.

 

 

 

To create a Db13 chord, apply the formula R, 3, 5, m7, 9, 11, 13 in the following way:

1. Begin with the Root note, which is Db.
2. Select the major 3rd interval, F.
3. Add the 5th interval, which is Ab.
4. Add the minor 7th interval, Cb.
5. Add the major 9th, which is Eb.
6. Add the 11th Gb, which is a 4th interval at the higher octave.
7. Lastly, add the 13th (Bb), which is a 6th at a higher octave.

By following this simple formula, you can create a 13th chord from any major scale.

 

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by Combining Intervals

One method to create a 13th chord is by combining specific intervals – a major 3rd, a minor 3rd, a minor 3rd, a major 3rd, and a minor 3rd. This is the formula:

3 + m3 + m3 + 3 + m3 + 3 = 13th Chords

Upon analysis of the Db13 chord, we can note that:

• the interval between Db and F is a major 3rd,
• between F and Ab is a minor 3rd,
• between Ab and Cb is a minor 3rd,
• between Cb and Eb is a major 3rd,
• between Eb and Gb there is a minor 3rd,
• and finally, between Gb and Bb there is a major 3rd.

 

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by Combining Chords

Another way to build 13th chords is by combining a major triad with a Maj 7th chord derived from its minor 7th, or by merging a dominant 7th chord with a minor triad that is based on its second interval.

Db Major + Cb Maj7 = Db13

or

Db7 + Eb minor = Db13

To build a Db13 chord, you can blend a Db Major triad with a Cb Major chord or a Db7 with an Eb minor. When played together, these two chords produce a Db13 chord.

 

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How to Use Db13 in a Chord Progression

 

The Db13 chord is essentially an extension of the Db7 chord, with the addition of the 9th (Eb), the 11th (Gb), and the 13th (Bb) note. Because of this, the Db13 chord can often be substituted for the Db7 chord.

Here are the tables of the major and natural minor scales that include the Db dominant 7th chord, which can be substituted or complemented by a Db13 chord but I suggest referring to the posts on dominant 7th chords to learn more fancy uses and contexts in which a dominant 13th chord can be played:

on Gb Major

• Dominant chord in Gb Major

 

on Eb minor

• Leading Tone chord in Eb minor

 

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Db13 Chord Function in Major and Minor Keys

Understanding Scale Degrees

When we form chords from a scale, each note in the scale is given a specific degree that reflects its position within the scale. The degree of a note in a scale determines its function and the role it plays in the overall harmony of the music.

1. Starting with the first degree of the scale, we have the Tonic chord. This chord serves as the foundation of the scale, providing a stable tonal center for the music. It’s like the “home base” of the music, and all melodies and harmonies are anchored to this chord.
2. Moving on to the second degree, we have the Supertonic. This degree acts as a transitional note between the tonic and other notes in the scale, creating a sense of movement and flow in the melody or harmony.
3. The third degree is the Mediant, which is located halfway between the tonic and dominant notes. This degree helps to establish whether the scale is major or minor and plays a critical role in determining the mood and emotional impact of the music.
4. The fourth degree is the Subdominant, which complements the dominant and adds tension and resolution to the music. It creates a push-pull effect that keeps the listener engaged and interested.
5. The fifth degree is the Dominant, which generates tension and a sense of expectation. It often acts as the climax of a musical phrase or section and is resolved by returning to the tonic.
6. The sixth degree is the Submediant, which provides a sense of stability and restfulness to the music. It’s often used as a transition between the dominant and tonic, creating a feeling of calm and relaxation.
7. Finally, we have the seventh degree, the Leading tone. This degree produces a strong sense of tension and a desire to resolve to the tonic. It’s often used to create a sense of resolution and completion in the melody or harmony.

 

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Db13 as Dominant Chord in Gb Major

In the context of the Gb major scale, the Db13 chord can serve as the dominant chord on the fifth degree of the scale. This means that Db13 would be the fifth chord in the scale and have a strong tendency to resolve to the tonic chord, which is Gb major in this case, or to the vi chord (Eb min7), which is the relative minor chord of Gb major.

 

 

Db13 Chord Progressions as V degree

Try playing these chord progressions to get an idea of how Db13 functions as the dominant chord. You can choose to modulate towards the Db7 chord or play just the Db13.

ii V I

One possible way to voice the Db13 chord is to play the root note Db with your left hand and the notes B (minor 7th), Eb (9th), and Bb (13th) with your right hand. Similarly, for the Db7 chord, you can play the root note Db with your left hand and the notes B, F, and Ab with your right hand.

I IV V

 

 I V vi IV

 

I IV vi V

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Db13 as the Leading Tone chord in Eb minor

In the context of the Eb natural minor scale, the Db13 chord can be used as a variation for the dominant 7th chord on the VII degree. Using the Db13 chord as a leading tone can create a sense of tension and resolution that can be used to lead into the tonic chord or as part of a modulation to the Db7 chord.

 

Db13 as VII degree – Chord Progressions

Here are some chord progressions that demonstrate how the Db13 chord can function as the leading tone or be a part of modulation towards a Db7:

 

i iv VII i

 

i VII VI V

 

i III VII VI

 

i iv VII VI

 

i iv VII III

 

Circle Progression

 

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Alternative Db13 Nomenclature

• Db 13
• Reb 13
• Db 13th
• Db 7/13
• Db dom13
• Db 7/9/11/13
• Db Dominant 13
• Db Dominant 13th
• Db Dominant thirteenth

 

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Conclusion

The chord progressions and examples presented in this post provide a comprehensive overview of the most common uses of the Db13 chord. It’s important to note, however, that many advanced harmony-related topics could not be included due to space constraints. These topics include chord progressions built on harmonic and melodic scales, modal scales, hidden tonality, secondary dominants and other chord substitutions, non-functional harmony and atonal music, modal interchange and borrowed chords, voice leading and counterpoint, chromatisms, jazz harmony…I mean, music theory is a huge topic!

Although I couldn’t cover all of these topics in my post, I encourage readers to continue exploring these areas in their own study and research. By expanding your knowledge in these advanced areas of music theory, you can gain a deeper understanding of the harmonic possibilities that exist beyond the basics presented here.