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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 !
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01-23-2014 02:43 PM
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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.
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I use this quite often: First string=x32452 and 8x997x
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Originally Posted by rwmol
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.
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879977
8999xx
xx10977
xx5577 (no 3rd)Last edited by cosmic gumbo; 01-23-2014 at 05:19 PM.
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(Low to high)
8X997X
X3X452
XX4557
XX9978
XX10,11,12,12
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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
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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...
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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
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Originally Posted by ecj
x32232
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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.
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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.Last edited by Sean65; 01-24-2014 at 08:12 AM. Reason: Add more info
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Originally Posted by RClegg
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Originally Posted by BigDaddyLoveHandles
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
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Fabulous stuff , thanks everyone very much ...........
Man I love this place ...........
Now where's that looper ?
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Originally Posted by BigDaddyLoveHandles
CMaj9#11: x32432
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I just made this up while noodling a few minutes ago. I'm digging the F#/G half step. Try arping it!
CMaj7#11: 8x9.11.8.12
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hey wait a minute BDLH, that looks a LOT like one of 469 chords I included in my post. You'll be hearing from my lawyer!
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Originally Posted by BigDaddyLoveHandles
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Originally Posted by edh
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Thans BDLH. I was looking at the fingerings and blocked out what fret it was.
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Originally Posted by BigDaddyLoveHandles
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Originally Posted by cosmic gumbo
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Originally Posted by cosmic gumbo
So sorry CG.
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