F#m13 Piano Chord

Piano Diagram of F#m13 in Root Position

The F#m13 chord is built upon the root note F# and includes a minor 3rd (A), a perfect 5th (C#), a minor 7th (E), a major 9th (G#), an 11th (B), and a 13th (D#). This chord bears resemblance to a minor 6th chord due to the presence of the 13th, which is essentially a 6th note played at a higher octave. However, it also includes a minor 7th, major 9th, and 11th notes, which contribute to creating a sense of tension and dissonance.

 

Playing Extended Chords on Piano

Extended chords like the F#m13 can be challenging to play due to the large number of notes they involve. To simplify them, pianists often use different strategies like omitting certain notes or dividing the chord between both hands.

How to play an F#m13

When playing an F#m13 chord, you can play the root note F# with the left hand and use the right hand to play the minor 7th note E, the 9th note G#, and the 13th note D#. This way, you can play a simplified F#m13 chord that includes only the root note, minor 7th, 9th, and 13th notes:

F# + E, G#, D#

Another option is to play the root note with the left hand and use the right hand to play an inversion of the chord with the 7th note (E), the minor 3rd note (A), and the 13th note (D#):

F# + E, A, D#

Also, you could play an F#m13 just playing the root note with the left hand and the 9th, the 3rd, and the 13th with your right hand:

F# + G#, A, D#

Despite using these techniques, extended chords can still produce dense and complex harmonies. When the chords are inverted, the resulting clusters of notes can be particularly challenging to play effectively and require careful voicing.

 

F#m13 Chord Inversions

 

The F#m13 chord has a total of 6 inversions:

Piano Keyboard Diagrams

Chord Inversion on Piano

Having a solid understanding of chord inversions is a crucial element of music theory since it sheds light on how chords are constructed. When it comes to playing chord inversions on a piano, it’s essential to keep in mind that the charts and graphs depicting the order of notes may not always be feasible or even playable.

To achieve the proper chord voicings on a piano, you must spread the chord notes across various octaves and positions on the keyboard. This often entails deviating from the typical shape of the chord’s inversions shown in charts, which may not be the most practical or comfortable way to play the chord.

While chord inversion charts can help understand the structure and sequence of notes in a chord, it’s always a good idea to experiment with different voicings and fingerings to find the most efficient and comfortable way to play the chord, while still preserving its intended harmonic function and sound.

---

Music Theory and Harmony of F#m13

The F#m13 chord is a diatonic extension of F#m7. While it can be substituted for the F#m7 chord in any position, it is commonly used in conjunction with it. Nonetheless, it’s worth noting that certain positions may not be as effective when substituting F#m13 for F#m7.

 

---

Building the F#m13 Chord: Different Approaches

Starting from the F# Major Scale

To build a minor 13th chord, you would typically combine the root note, minor 3rd, 5th, minor 7th, major 9th, 11th, and 13th from a minor scale. However, for educational purposes, it may be clearer to demonstrate its construction using a major scale, as it better illustrates the relationship between intervals and their qualities.

To build an F#m13, you can start with the F# Major scale:

 

 

 

To create an F#m13 chord, apply the formula R, m3, 5, m7, 9, 11, 13 in the following way:

1. Begin with the Root note, F#.
2. Select the 3rd interval, A# then subtract a half-step to get the minor 3rd A.
3. Add the 5th interval, C#.
4. Select the 7th interval, E#, and lower it down by a half-step to get the minor 7th, E.
5. Add the major 9th, G#.
6. Pick the 11th B, which is a 4th interval at the higher octave.
7. Lastly, add the 13th (D#) which is a 6th at a higher octave.

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

 

---

by Combining Intervals

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

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

Upon analysis of the F#m13 chord, we can note that:

• the interval between F# and A is a minor 3rd,
• between A and C# is a major 3rd,
• between C# and E is a minor 3rd,
• between E and G# is a major 3rd,
• between G# and B, there is a minor 3rd,
• and finally, between B and D#, there is a major 3rd.

 

---

by Combining Chords

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

To build an F#m13 chord, you can blend an F# minor triad (F#, A, C#) with an E Maj7 chord (E, G#, B, D#) or an F#m7 (F#, A, C#, E) with a G# minor (G#, B, D#).

F#m + E Maj7 = F#m13

or

F#m7 + G# min = F#m13

 

---

How to Use F#m13 in a Chord Progression

 

The F# minor 13th chord is a more complex version of the F# minor 7th chord, as it includes additional notes such as the 9th, 11th, and 13th. These extra notes add a lot of dissonance and tension to the chord, which can make it tricky to use in a chord progression. Even if you leave out some of the notes, you still need to find the right voicing, because the effect of the F#m13 depends on how it fits in with the other chords. It’s important to experiment with different voicings and figure out what works best with your particular progression.

In this post, we will focus just on the most common uses of the F#m13 chord. The tables of the major and minor keys below include the F# minor 7th chord, which can be substituted or complemented by an F# minor 13th chord.

 

on Natural minor Scales

• Tonic chord in F# minor
• Subdominant chord in C# minor
• Non-diatonic Dominant chord in B minor

 

on Major Scales

• Supertonic chord in E Major
• Non-diatonic Mediant chord in D Major
• Submediant chord in A Major

Non-diatonic positions in B minor and D Major

It’s important to note that the major ninth interval G# clashes with the G note found in both the B minor and D major scales, as they are only a half step apart. As a result, it’s generally recommended to avoid using F# minor 13th in these particular positions. However, rather than simply telling you to avoid it altogether, I believe the best approach is to test the dissonance of the F#m13 chord in those positions and make a judgment call based on your own preferences.

 

---

F#m13 Function in Major and Minor Keys

Understanding Scale Degrees

Understanding scale degrees is essential for comprehending the relationship between the notes within chords and how they function. The diatonic major scale consists of seven degrees, each with a distinct role in shaping the overall harmony of the chords.

1. The first degree of the scale is the Tonic, serving as the foundation for the chord progression. It establishes a stable tonal center, providing an anchor for the rest of the chords in the progression.
2. The second degree is called the Supertonic, often used to create a sense of motion within the chord progression. It acts as a transitional chord between the Tonic and other chords in the progression.
3. The third degree of the scale is the Mediant, sitting halfway between the Tonic and Dominant chords. It helps determine whether the chord progression is major or minor.
4. The fourth degree is the Subdominant, complementing the Dominant and adding tension and resolution to the chord progression.
5. The fifth degree is the Dominant, creating tension and anticipation within the chord progression, typically resolved by returning to the Tonic.
6. The sixth degree is the Submediant, often employed as a transitional chord between the Dominant and Tonic, adding a sense of stability and restfulness to the chord progression.
7. The seventh degree is the Leading tone, located one half-step below the Tonic. It creates a strong sense of tension and a desire to resolve to the Tonic, frequently used to create a sense of resolution and finality in the chord progression.

 

---

F#m13 as Tonic Chord in F# minor

The F# minor 13th chord is an interesting and distinct choice for the tonic chord in the F# minor key.

F#m13 Chord Progressions as i degree

The following chord progressions are examples of how the F# minor 13th chord can serve as the tonic chord (i degree).

i VI VII III

 

i iv VI VII

I prefer resolving the F# min13 chord to a more stable F# chord (F# minor or F# minor 7th) within the same measure, but I encourage you to explore different options and experiment with other chord progressions to see what sounds best to you.

 

Circle Progression

 

---

F#m13 as Subdominant Chord in C# minor

The F# minor 13th can also be played as the subdominant chord in the key of C# minor.

F#m13 Chord Progressions as iv degree

The following chord progressions feature an F#m13 chord as the subdominant (iv degree):

 

iv III VI VII

 

i iv VI v

 

Circle Progression

 

---

F#m13 as Dominant Chord in B minor (Non-Diatonic)

The F#m13 chord can also function as a variation of the dominant chord in the B minor key. Note that the 9th interval G# may clash with the G note found in the B minor scale, as they are a half step apart.

F#m13 as v degree – Chord Progressions

To hear how the F# minor 13th chord sounds as the dominant (V) chord in the B minor key, you can try playing the following chord progressions:

 

i iv VI v

 

i v VI VII

 

i VI v iv

 

---

F#m13 as Supertonic Chord in E Major

Besides its use in minor keys, the F#m13 chord can also be played in major keys. In the key of E major, for instance, the F#m13 chord can be used as the supertonic chord, located on the second degree of the scale.

F#m13 Chord Progressions as ii degree

Try playing the following chord progressions to better understand how the F#m13 chord functions as the supertonic (ii) chord in the key of E major.

 

ii V I

 

Circle Progression

 

---

F#m13 as Mediant Chord in D Major (Non-Diatonic) 

In addition to its positions in minor keys and major keys, the F#m13 chord can also be played as the mediant (iii) chord in the key of D major, located on the third degree of the scale.

The 9th note (G#) of F#m13 will eventually clash against the G present in the D major scale so be aware of the issue you could encounter using a non-diatonic chord.

F#m13 Chord Progressions as iii degree

To better understand how the F#m13 serves as the mediant (iii) in the D major scale, you can try playing the following chord progressions:

 

I iii IV V

 

I iii ii V

 

I iii vi V

 

---

F#m13 as Submediant Chord in A Major

The F#m13 chord can be played on the sixth degree of the A major scale, as a variation of the submediant chord.

F#m13 as vi degree – Chord Progressions

You can explore the sound of F#m13 as the submediant chord in the key of A major by playing the following chord progressions:

 

I iii vi V

 

I vi ii V

 

Circle Progression

 

---

Alternative F#m13 Nomenclature

• F# m13
• F# m13th
• F# m11/13
• F# min13th
• F# minor 13
• F# m7/9/11/13
• F# minor thirteenth

---

Conclusion

The chord progressions and examples in this post give a comprehensive overview of the common uses of the F#m13 chord. However, it’s important to note that many advanced topics in harmony couldn’t be included due to space limitations. These topics include chord progressions based on different scales, modal scales, hidden tonality, secondary dominants, chord substitutions, non-functional harmony, atonal music, modal interchange, borrowed chords, voice leading, 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.