- ii7G♯m7
- V13C♯13
- Imaj7F♯maj7
C♯13 is the chord that wants to resolve, so ending the loop on it hands straight back to the top.
The C♯13 chord is a dominant thirteenth chord built on the root note C♯. Its notes are C♯, E♯, B, D♯ and A♯. It's enharmonically the same chord as D♭13.
Dominant thirteenth chords are the fullest dominant sound in common use, a dominant seventh with a ninth and a thirteenth piled on top. The major sixth on top, sounding an octave up as the thirteenth, gives the chord a bright, open lid.

Switch to the interactive diagram to hear the chord, change voicing and swap finger numbers for note names.
To play C♯13 on piano, place your right hand with your thumb on C♯, index finger on E♯, middle finger on B, ring finger on D♯ and little finger on A♯. Press the keys together and listen for an even sound. Practice moving in and out of the chord slowly, then bring in a metronome.

Switch to the interactive diagram to hear the chord, change voicing and swap finger numbers for note names.
On guitar, C♯13 is commonly played with the voicing shown above. This one is a barre shape: keep the index finger flat across the fretboard and curve the others so they don't mute the strings next to them. Strum only the strings marked as active in the diagram.
Also known as D♭13
| Degree | Interval | Semitones | Note | Hear |
|---|---|---|---|---|
| 1 | Root | 0 | C♯(C#) | |
| 3 | Major third | 4 | E♯(E#) | |
| ♭7 | Minor seventh | 10 | B | |
| 9 | Major ninth | 14 | D♯(D#) | |
| 13 | Major thirteenth | 21 | A♯(A#) |
The C♯13 chord is built from a root, a major third, a minor seventh, a major ninth and a major thirteenth. Start at the root C♯ and stack the intervals to get the whole chord: C♯, E♯, B, D♯ and A♯. The same formula gives you the chord in any other key.
Dominant thirteenth chords are the default rich dominant in jazz, gospel and R&B horn and keyboard voicings, usually the V7 resolving to a major or minor tonic. Big band charts lean on them wherever a plain dominant seventh would sound thin.
A dominant chord wants to resolve. Its home is the V of a major key - and the I of a blues, where the pull never lets up.
C♯13 is the chord that wants to resolve, so ending the loop on it hands straight back to the top.
The twelve-bar shape boiled down. The tonic is itself a dominant seventh, which is what makes it a blues.
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