Jazz Piano Chords: 13th Voicing
Here we will illustrate one of the most popular jazz piano chords of all time from the perspective of the pros. Yes, it’s another one of those “stock” voicings that you just have to be familiar with. Also, you’ll want to learn this one in all the keys. Not only will you want to but you’ll find it to be one of the easiest jazz piano voicings to execute as well
Specifically, we will be playing a voicing for the dominant 7th chord. Let’s use the G dominant 7th chord for our example. The symbol you’ll see in sheet music and fake books for this chord is G7. Here is the spelling of the G7 chord in its most basic root position chord:
G B D F
Relating this to a corresponding scale (the mixolydian scale), we see that the chord consists of the 1, 3, 5, and 7:
G A B C D E F G A B C D E F G
1 2 3 4 5 6 7 8 13
We are illustrating the scale in two octaves so that it becomes evident that, when we continue building in 3rd intervals above the 7th, we eventually come to that E, which would be designated as the 13th degree. You’ll also notice that the 13 and 6 are the same pitch name. When we are referring to dominant chords and use the 6th, we opt to call it the 13th.
So, let’s take a look at this voicing. Again, when it comes to jazz piano chords, you’ll want to use this one over and over again…
From bottom to top, we have F, B, E. In terms of scale degrees, these are the 7, 3, 13. Play this voicing and listen! Then play the G7 in its basic form above. Go back and forth and compare the sounds of the two. You’re likely to notice that the G13 voicing is quite contemporary in nature. This is due to the fact that it includes a tritone (F to B), a perfect fourth interval (B to E), and a Major 7th interval (F to E). So, there’s quite a bit of dissonance within this chord voicing! (Note that we do not use the 5 in this voicing)
Again this is a popular one among the pros. When a G7 is called for in a tune, a jazz pianist will often consider this G13 voicing as an option as long as the melody warrants. If the melody was an Eb, for example, that would generally be considered to be too clashing with that E. So, instead of playing the E in the voicing, you could, of course, change it to an Eb, giving you a G7b13 voicing!
You are highly encouraged to look for dominant 7th chords in your music and consider trying this voicing. Transpose it in the other keys so that you will have it readily available whenever you want it.
Remember, this is a rootless voicing. The G is not in the voicing above. When playing with a bass player, this works out great for a couple of reasons: 1) The bass player will play the root of the chord, which makes for a nice “sharing” of the chord with the piano player, where each is taking a different role; 2) the bass player and the piano player are not coinciding on the same note, which eliminates the possibility of obvious intonation problems.
Of course, if you are playing as a soloist, you can play that G in the bass before or after playing the chord to give it more substance! Experiment with this.
Okay, have at it! Play this voicing using the 7-3-13 formula on all those roots to satisfy all the keys. As you gain more and more mastery with this voicing, remember…
PLAY WITH PASSION!