- ii7B♭m7
- V13E♭13
- Imaj7A♭maj7
E♭13 is the chord that wants to resolve, so ending the loop on it hands straight back to the top.
The E♭13 chord is a dominant thirteenth chord built on the root note E♭. Its notes are E♭, G, D♭, F and C. 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 E♭13 on piano, place your right hand with your thumb on E♭, index finger on G, middle finger on D♭, ring finger on F and little finger on C. 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, E♭13 is commonly played with the voicing shown above. Strum only the strings marked as active in the diagram.
Also known as D♯13
| Degree | Interval | Semitones | Note | Hear |
|---|---|---|---|---|
| 1 | Root | 0 | E♭(Eb) | |
| 3 | Major third | 4 | G | |
| ♭7 | Minor seventh | 10 | D♭(Db) | |
| 9 | Major ninth | 14 | F | |
| 13 | Major thirteenth | 21 | C |
The E♭13 chord is built from a root, a major third, a minor seventh, a major ninth and a major thirteenth. Start at the root E♭ and stack the intervals to get the whole chord: E♭, G, D♭, F and C. 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.
E♭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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