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  1. #1

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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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    The Jazz Guitar Chord Dictionary
     
  3. #2

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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)

  4. #3

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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.

  5. #4

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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.


  6. #5

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    Quote Originally Posted by cfwoodland
    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?
    ok..so you want a Mi7 with a 5th and a b5th (#11) in the same chord ? ..C Eb Gb G Bb....Mi6--C Eb A Gb G

    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...

  7. #6

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    C Eb G <> Bb D F# ............ Cm <> Bb+

    Makes for a cool triad pair

  8. #7

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    Quote Originally Posted by bako
    C Eb G <> Bb D F# ............ Cm <> Bb+

    Makes for a cool triad pair
    ahh yes..and some crunchy augmented scale/chord fragments...goes good with any well balanced diet

  9. #8

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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.

  10. #9

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    I think it sounds cool. Has a quality similar to a minor major 7.

  11. #10

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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


  12. #11

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    Seems like a viable extension for the spooky minor 6 and minor major 7 sounds.

  13. #12

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    Quote Originally Posted by Christian Miller
    Jordan had a thing about this chord iirc. B/Am triad pair. This is more of an Am9(maj7)#11 tonality. Quite spooky.
    spooky indeed...listen to the first two chords on "meeting of the spirits" mclaughlin..inner mounting flame