Maj7b5 chord

[bako]

C E F# B // C E Gb B

CMa7#11
D13
E9b13 or CMa7#11/E
F#m11b5
CMa7#11/G or GMa13sus
Ab7+(#9)
Am6/9
Bb+(9/b9/#11)
B(phrygian)

Analyze a structure in relation to each root.
Then try and put the chord in a context that supports each possible function in a simple way and see what you think. Keep what you like (and can remember).

[docbop]

Docbop, could you expand on this? Or point me in a direction where I could find some information on this.

Thanks.

Bako covered it and I use two or three that I like you have experiment to find the ones you like. I leave the bass note to the bass player and just play the Maj7b5.

[Melodic Dreamer]

I think of m7b5 chords and maj7#11 (or maj7b5, whichever) chords as being in the same family, the same general sound, given some technicalities

F#m7b5 = F# A C E

Cmaj7 with a #11 instead of a natural fifth = C E F# B

so we have F# A C E and F# B C E

Many notes that are commonly voiced on each chord type are equally common for both.

The A is the b3 of F#m7b5 and the 13 of Cmaj7

The B is the 7 of Cma7 and the 11 of F#m7b5

G# is the natural 9 of F#m7b5 and the #5 of Cmaj7. In both cases you could view the most conventional parent scale as A melodic minor. Both a natural 9th on m7b5 and a #5 on maj7(#11) are characteristic pitches of their respective melodic minor modes.

D is the 9th of Cma7 and the b6 of F#m7b5

On paper, G might seem to be the least congruent note as it's the fifth of C but the b9 of F#m7b5, not generally thought of as a conventional tension for m7b5. However, it can easily be part of a sequence from the locrian mode, and I think McCoy Tyner's comping on Inner Urge has a bit of that, last time I checked. Both F# locrian and C lydian are within the same key center.

Thanks for the reply. I really didn't think of it that way. It does give me a new perspective on how to look at it.