The Cmaj13 chord is one of those sounds that instantly makes things feel smooth, rich, and… well, jazzier. But instead of throwing a big, messy 6-note chord at you, I want to show you a rootless voicing that keeps things simple, sounds pro, and fits into real playing situations.
Let’s break it down.
What Is a Cmaj13 Chord?
In theory, a Cmaj13 chord includes the root, 3rd, 5th, 7th, 9th, 11th, and 13th. That’s a lot of notes—and on guitar, it’s more than we can physically play in one shape. So we need to be selective.
The good news? You don’t need every note to get the sound. In fact, you’ll usually get better results by leaving the root out and focusing on the color tones.
The Rootless Cmaj13 Voicing (Chord of the Week)
Here’s the voicing I’ve been using for years. It skips the root and gives you:
- 13th
- 3rd
- 7th
- 9th
Fingering (on strings 4–3–2–1):
- Index finger on the 3rd
- Ring finger on the 7th
- Middle finger on the 9th
- Pinky on the 13th
You’re visualizing the root on the 5th string—but you don’t play it. This frees up your voicing to sound less muddy and more open, especially when comping in a group setting.
When Can You Use This Chord?
- Any time you see Cmaj7, Cmaj9, or Cmaj13 in a chart
- It’s not ideal for Cmaj7♯11, but honestly, you can usually get away with it
- Great at the end of a ii–V–I or as a substitute for simpler major voicings
A Rootless ii–V–I with Cmaj13
Let’s hear this Cmaj13 in context with a smooth rootless ii–V–I progression:
- Dm9: ♭3 – ♭7 – 9 – 5
- G7♯5♭9: Slide your Dm9 shape down one fret (keeping index finger in place)
- Cmaj13: Adjust fingers slightly and land into our chord of the week
You’ll notice the voices move in subtle half steps—exactly the kind of smooth motion jazz guitarists love.
This progression sounds polished without needing big jumps or complex grips.
Bonus: Cmaj13 Arpeggio (and Picking Tips)
To go along with the chord shape, here’s a Cmaj13 arpeggio that includes:
- 3 – 5 – 7 – 9 – ♯11 – 13
It outlines the same tones as the voicing, but adds a bit more color with the 5th and sharp 11th. This arpeggio feels great under your fingers and connects directly to the chord shapes.
Picking pattern (ascending):
- Down-pick and hammer-on for any two-note-per-string areas
Descending:
- All up-picks, using pull-offs when two notes are on a string
You can also move this arpeggio across the three string sets, just like the chord voicing. The high-string version is easiest, but all three are playable with slight finger adjustments.
Final Thoughts: Why This Cmaj13 Matters
This Cmaj13 voicing gives you a clean, professional sound without excess clutter. Whether you’re comping behind a soloist or adding color at the end of a phrase, this rootless shape is a solid go-to.
It also teaches you a valuable jazz guitar lesson: sometimes, less is more—and skipping the root opens up more melodic and harmonic possibilities.
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