Arpeggio
D♯ maj13
Major
- Formula
- 1 3 5 7 9 13
- Notes
- D♯ F♯♯ A♯ C♯♯ E♯ B♯
Notation
Fretboard — frets 0–24
Degrees
| Degree | Note | Interval | Semitones | Role |
|---|---|---|---|---|
| 1 | D♯ | perfect unison | 0 | The root — the tonal centre every other note is heard against; land on it and the sound resolves. |
| 3 | F♯♯ | major third | 4 | The major third — the bright note that makes a quality major; it defines the chord's colour and pulls gently toward the root. |
| 5 | A♯ | perfect fifth | 7 | The perfect fifth — the root's strongest companion; it anchors every triad and stacked-seventh quality. |
| 7 | C♯♯ | major seventh | 11 | The major seventh — the leading tone a half-step under the root; in maj7 it glows, in harmonic minor it sharpens the pull home. |
| 9 | E♯ | major ninth | 14 | The major ninth — the second degree an octave up; it adds shimmer to maj9, 6/9 and the m9 family without changing the harmony. |
| 13 | B♯ | major thirteenth | 21 | The major thirteenth — the sixth an octave up; it crowns maj13 and 13 with a bright, horn-like top. |
About this arpeggio
The major thirteenth is the fullest major sound in the dictionary: a major seventh, a ninth and a thirteenth stacked over the triad. The thirteenth is the sixth degree an octave up, so the chord keeps the sweetness of a six chord while the seventh and ninth give it depth and motion. It is a staple of big-band endings and solo-piano arrangements, where the top note often carries the melody. The one note to handle with care is the eleventh, which clashes with the major third; this quality leaves it out, and so should most voicings. Listen for the thirteenth crowning the stack like a horn line.
How to practise this arpeggio
- Play the stack slowly from the seventh upward, ending on the thirteenth.
- Voice the thirteenth on top and let the lower notes support it.
- Try it as a final chord in a ballad and sustain the top note.
- Compare it with maj9 and hear what the thirteenth adds at the top.