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If you do not have the rights explicitly granted to you, don't record it.  The only music you own is the music you wrote.

Meshuggah is a Swedish thrash metal band that absolutely rox.

http://www.youtube.com/watch?v=YjzIBI3jkKY

http://www.youtube.com/watch?v=BurXVRBdGos

http://www.meshuggah.net/

It was a Hofner-Anno nylon string classical.  A beautiful instrument, with marvelous tone.  It was given to me by a close friend who had just lost his old landlord, with whom he was close.  He bought it for her.  She never played it.   He gave it to me.  I took it as a moral obligation to learn it, which I did.

I just gave it to a close friend of mine.  She's playing it every day now, too.

Again?

This week it's

1.  Zep
2.  Hank Williams and the Wandering Cowboys
3.  Meshuggah
4.  Bobby McFerrin
5.  The Artists Formerly Known as Deep Dish Gravity (pimpin style!)

They may have it right, but your songbook may have it wrong.  Songbooks are notoriously poor when it comes to transposition.

But don't take it by rote.  Learn what makes a 9 or an 11 or a 13, and then check it yourself.  The theory is the same no matter what instrument your playing.  It's the application that matters.

The E that your talking about makes it an inversion.  You've flipped the chord from "bottom up"

A C# E

to "top down"

"E A C#"

You make it a 7th by adding the G (G# for maj7, G for dom7).  Then you add the rest of the notes in sequence to that.

Point being, you build extended chords on 7ths.   That's why a 9 and a 11 and a 13 are all 7th chords.

That this is a guitar and not a keyboard is really where we're breaking down.  You can demonstrate this fully on the keyboard, but it's hard to do on the fretboard.   Its the case for most theory, I think.  Anyway, for example the A13 in Deacon Blues (great choice, BTW.  I love that band) is, when you build it out properly.

A13 = A C# E G B D F#

So what do we notice about that chord?  It's got all seven notes of the scale in it.  I defy you to play it on your guitar.     

When we're playing extended chords on the fretboard, we're almost always making a compromise on the chord itself.  We won't be playing the entirety of the chord, as it's simply impossible to do.  This is always the case with 13s, as there are simple too many notes in them.  (Unless you have a 7 string guitar, in which case, I bow to you, Sir.)

Just with your example, though, what makes the chord a 13 isn't the B, but the F#.   A 13 is the addition of the 6th note in the scale (the 13th if you walk up another octave).   The B is what makes it a 9.  In all cases, you're playing the G, as it's the 7th.  Because 13s are 7s, too. 

Don't confuse an artifact of how you fret on the fretboard with how the chord is derived.  In your example the last E is irrelevant to the chord.  We'll use dom7ths (flat 7th) as that's more common, but it doesn't change anything.

A7 = A C# E G
A9 =  A C# E G B   

All you're doing to make a 9 is add the next step in the triad to a 7th.  That's why it's a 7th.  Same thing for an 11.

A11 = A C# E G B D#

So all extended chords are based on a 7th of some kind.  They're generally interchangable as well.  If I'm playing something and I come to an 13th and I don't know how to fret it, I can throw in the 7th and it works just fine.

My Musicman Stingray Bass is appropriately named THUNDERSTICK!!! for it's propensity for blowing out amps.

That guitar, as we like to say, is louder than f$%ck.

If you like punk, what the heck are you doing listening to Green Day?

Dead Kennedy's were punk.  GD is just highly marketed commercial pop.

budwieser is an embarrasment to beer.

There are five major chord shapes as well.  C A G E and D.  These can be played in the open position, and closed as barres anywhere on the neck.   Likewise, each of the five major scale patterns falls into one of these shapes.   I think the easiest to see this is with the C shape it's associated pattern.

Go ahead and grip yourself an A major chord down by the 11th fret.  It will look like this.

-x-
-10-
-9-
-11-
-12-
-x-

Note that this is just a closed C shape chord.  That is, if you move it down to the open position, you'll be playing C major.

Now play A major scale in the same position.   You'll see how the notes you play fall directly over the notes you fret for the chord.

------------------------------------------------
----------------------------9---10--------------
--------------------9---11----------------------
------9--11---12-------------------------------
--12--------------------------------------------
---------------

You don't even have to move your hand all that much from the chord to play the scale.  And if you were ripping a solo using this scale, you can get back to the A chord really quickly.   And you can move that scale pattern anywhere to play different major scales.   Need F major?  Move your index finger, now on the 12th fret, to the 8th fret, and repeat.  You'll be playing F, both the chord and the scale.

Each of the chord shapes is like this.  The scale pattern over them will hit the same notes you're fretting for the chord.  You just have to learn the patterns, and you can play in any key, anywhere on the neck.