Maj7#11 Chord Shapes

**pingu** · 01-23-2014, 02:43 PM

Hi guys ,
I'm playing some tunes for a guy who likes
these chords a fair bit !

I've got (for Cmaj7#11)

8 (sixth string)
x
9
9
7
x
also
x
x
10
11
12
12
also
x
3
4
4
5
x

any more nice ones ? or nice alternative , subs etc
also how would you solo over this as static vamp ?
how would you think ?

ALL EXAMPLES in C please !

**BigDaddyLoveHandles** · 01-23-2014, 03:15 PM

Rather than write them all out, you can take any grip (like a drop-2 or a drop-3) and lower the 5th a fret, and see if that's feasible to play.

I also like having the 5th and the #11 in the same chord:

CMaj7#11: xx5452

Party trick. Fret a note with your thumb in an unconventional way: reach *under* the neck and fret the F# with your thumb: x35452.

**rwmol** · 01-23-2014, 03:35 PM

I use this quite often: First string=x32452 and 8x997x

**ecj** · 01-23-2014, 04:40 PM

Originally Posted by rwmol

I use this quite often: First string=x32452 and 8x997x

Alternatively, sometimes I fret the first as:

X3X232

If I need to keep a finger (pinky) free for chord/mel moves, or just to grab it quickly. That's really a 6/9 with a #11 on top, but sounds great to my ears.

Maj7#11 chords are also really fertile ground for 4ths voicings if you are hanging on one for a long time.

**cosmic gumbo** · 01-23-2014, 05:08 PM

879977
8999xx
xx10977
xx5577 (no 3rd)

**David B** · 01-23-2014, 05:35 PM

(Low to high)

8X997X

X3X452

XX4557

XX9978

XX10,11,12,12

**JakeAcci** · 01-23-2014, 11:34 PM

I made a lil system for this a while ago

Taking "maj7#11" as "C E F# B" and thinking of those four notes alone, you get the following possibilities if you eliminate doubles/octaves, or intervals greater than an octave in the voicing:

All four note voicings, no octaves, all chords written from lowest pitch to hgihest pitch

root position maj7#11

C E F# B (closed)
C F# B E (Drop 2)
C B E F# (drop 3 )
C E B F# (drop 2 and 3 )
C F# E B (drop 2 and 4)
C B F# E (double drop 2 and drop 3 )

Inversions

C E F# B (closed)
E F# B C
F# B C E
B C E F#

C F# B E (Drop two)
E B C F#
F# C E B
B E F# C

C B E F# (drop three)
E C F# B
F# E B C
B F# C E

C E B F# (drop two and three)
E F# C B
F# B E C
B C F# E

C F# E B (drop two and four)
E B F# C
F# C B E
B E C F#

C B F# E (double drop two and drop three)
E C B F#
F# E C B
B F# E C

------

But that's all just looking at the chord in a somewhat 'literal' way

It's up to us what will be musically appropriate or sound good and that depends on a lot of factors. The obvious place for this chord would be within the lydian mode, so in addition to 1 3 5 7 #11 we also have 9s and 13s available, giving us many, many possibilities. We could play anywhere from 1-7 notes in our voicing, and when making that decision it's important to consider what the rest of the band is doing

Lately I have been exploring other tensions over the maj7(#11) sound - #5/b6 is the next obvious step, and #9s and b9s can add a very interesting texture. On the original recording of Joe Henderson's "Inner Urge," McCoy Tyner actually treats some of the "maj#11" chords as what we might usually refer to as diminished major seventh: C F# B D#, for example.

Here are some other voicings:

x C F# B D# E (E open)

C x B E F# C# (thumb on low C)

C F# A D G# x

little stretcher:

C G# A E F# x

C x B E A C#

out of context might not be really 'pleasing' but I've enjoyed finding places for them.

On the 'prettier' side, some nice things: Any D triad over C bass note:

C x A x F# D

Any Bm/C:

x C x B D F#

C x B x F# D

any Gma7/C:

x C D G B F#

C G x D F# B

C x B F# G D < - - - i like this one

Any Bm7/C...on and on...

**RClegg** · 01-23-2014, 11:44 PM

Recently stole this one from Jamie Findlay (it is an A): 067444. He uses it in his Nefertiti arrangement. I am looking forward to reading the post above mine in depth!

Russ

**BigDaddyLoveHandles** · 01-24-2014, 12:41 AM

Originally Posted by ecj

Alternatively, sometimes I fret the first as:

X3X232

You've rediscovered D7! And you can easily add the 3rd (E) back in:

x32232

**randalljazz** · 01-24-2014, 06:11 AM

for improv:

B mi pentatonic is nice (and D maj pentatonic--same notes, different emphasis). also Am and Bm triad pair; and C and D major triad pair.

**Sean65** · 01-24-2014, 07:13 AM

x3445x

8x997x

xx10 11 12 12

#11 = red

Just imagine your normal Maj7th grips and then lower the 5th by half step.

For improv. Try soloing with the minor pentatonic one half step below. CMaj7#11 use Bmin pentatonic. Sounds pretty hip because it gives you the 7 9 3 #11 13 of the C chord. Lydian vibe.

**rwmol** · 01-24-2014, 09:39 AM

Originally Posted by RClegg

Recently stole this one from Jamie Findlay (it is an A): 067444. He uses it in his Nefertiti arrangement. I am looking forward to reading the post above mine in depth!

Russ

AMaj9#11

**ecj** · 01-24-2014, 09:45 AM

Originally Posted by BigDaddyLoveHandles

You've rediscovered D7! And you can easily add the 3rd (E) back in:

x32232

Sure enough! Sometimes it's easier to just use a grip you already know than invent some crazy new one.

I find it harder to comfortably bar across the 2nd fret and keep my pinky ready to go for the gusto with the 3rd put back in. I use it for chord/mel movements where the #11 is part of a rising action, like the end of Only Have Eyes for You.

ecj