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I don't often see #11 as a tension on m7 or m6 chords; in fact this website states that they are to be considered avoid notes in that context. Is there any reason why this is, or are they in fact available tensions?
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08-15-2021 06:43 PM
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I view it the same way as the #9 on Maj 7 chords. Not really an avoid note but somewhat close to it and can be used as an extension (or blue note)
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I wrote an arrangement of a tune using x5466x instead of the more-expected x5456x. Sounds good to me in context, but I can't recall seeing it elsewhere.
I can't find a m7#11 voicing (R b3 5 b7 #11) that sounds good.
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I tried to get a Gm7#11 to work in a chord progression. Seems to be a tweener, between a plagal and an authentic cadence. If I had used a Gm6#11 instead that could be played with a Gmin in the left hand and an A major in the right hand... both candences. Using Gm7#11 I get the notes of both a Gm7 and A7#5.
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Originally Posted by cfwoodland
for me it would have to be a voice leading reason to have it as a chord..in some harmonic context it might fit ok..but as a stand alone..its one of the McLaughlin chords that only work for him
and your correct it has enough tension ...for two chords...
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C Eb G <> Bb D F# ............ Cm <> Bb+
Makes for a cool triad pair
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Originally Posted by bako
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Jordan had a thing about this chord iirc. B/Am triad pair. This is more of an Am9(maj7)#11 tonality. Quite spooky.
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I think it sounds cool. Has a quality similar to a minor major 7.
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yea... can be chord sound from Harmonic Maj. The A-9ma7#11 chord would be the IV chord from E Har.Maj.
The V7b9 chord with nat.13 has been used for a while. Check out Barbados from David Hezeltine's Good-Hearted People... Jesse van Ruller is guitarist
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Seems like a viable extension for the spooky minor 6 and minor major 7 sounds.
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Originally Posted by Christian Miller
Gibson Thin line Guitar Models
Yesterday, 11:07 PM in Guitar, Amps & Gizmos