Chord Structure
Building on each of the major scale degrees the 13th chord chord quality that is harmonic to such scale ((i.e. with all its notes belonging to such scale), results in the following table. The numbering is relative to the scale degree numbers of the major scale that has the major scale degree in question as tonic:
| Chord Root | Chord Quality | 1 | 3 | 5 | 7 | 9 | 11 | 13 |
|---|---|---|---|---|---|---|---|---|
| I | maj13 | - | - | - | - | - | - | - |
| ii | m13 | - | ♭ | - | ♭ | - | - | - |
| iii | m7♭9♭13 | - | ♭ | - | ♭ | ♭ | - | ♭ |
| IV | maj13♯11 | - | - | - | - | - | ♯ | - |
| V | 13 | - | - | - | ♭ | - | - | - |
| vi | m7♭13 | - | ♭ | - | ♭ | - | - | ♭ |
| viio | 7ø♭9♭13 | - | ♭ | ♭ | ♭ | ♭ | - | ♭ |
Other 13th chord qualities do exist but they do not belong to any scale mode.
From the table it is clear that adding an 11th or a 13th makes the seven chord qualities distinguishable from each other, as without an 11th added the I and IV chord quality would be identical, and without a 13th added the ii and vi chord quality would be identical.
Read more about this topic: Extended Chord
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“There is no such thing as a language, not if a language is anything like what many philosophers and linguists have supposed. There is therefore no such thing to be learned, mastered, or born with. We must give up the idea of a clearly defined shared structure which language-users acquire and then apply to cases.”
—Donald Davidson (b. 1917)