Altering major

[Bobby Timmons]

I'm liking altered ideas for major. Everyone knows lydian. Then there's melodic minor a minor 3rd down which gives you lydian augmented - raised 4 and 5. I'm really liking a major scale or chord a whole step up. It gives you the raised 4 and raised 1 lol. It sounds good. If you play a major 7 chord a whole step up from the main major 7 chord it gives you 9, #11, 13, '#15' lol. It sounds good!

[Christian Miller]

Maj7#9#11 ftw

EDIT: the maj13#11#15 is Warne Marsh’s two octave major arpeggio no?

[jameslovestal]

[Bobby Timmons]

Maj7#9#11 ftw

Sounds great, totally fits with the sound of the #11.

the maj13#11#15 is Warne Marsh’s two octave major arpeggio no?

I haven't noticed it in the wild before.

[Christian Miller]

I haven't noticed it in the wild before.

it’s not a common one

[cfwoodland]

I love the #15 sound! It's just moving around the circle of fifths really. Cmaj13#11#15 is:
C E G B D F# A C#
which is the same notes as:
C G D A E B F# C#
So it's kind of an extension of lydian.

[Christian Miller]

I love the #15 sound! It's just moving around the circle of fifths really. Cmaj13#11#15 is:
C E G B D F# A C#
which is the same notes as:
C G D A E B F# C#
So it's kind of an extension of lydian.

you mentioned elsewhere that this sound was getting more common. Could you give an example?

[cfwoodland]

you mentioned elsewhere that this sound was getting more common. Could you give an example?

Yes! #15s (like the one mentioned here) are getting more popular because of Jacob Collier's concept of super-ultra-hyper-mega-meta-lydian (or more precisely, it's derivative, super-lydian). Super-lydian is essentially another way of describing this extended lydian sonority (by that I mean, 1, 2, 3, #4, 5, 6, 7, #8). Jacob often refers to this added note as a #15, and it is common in much of his music.

A specific example of a Dmaj7#11#15 chord being used in a song is "Hideaway" by Jacob Collier, at around 6:10, in the line "Maybe you can come to stay" on the word "you".

[ragman1]

Just done a tune that finished on an Eb6. I substituted that with half a bar each of EM7 and EbM9#5.

The EM7 is a known move then I played an EbM9 and put a G maj triad over it. The EM7 sets you up for something unusual to happen, so when the #5 arrives it sounds lovely. Natural but interesting.

[Christian Miller]

Yes! #15s (like the one mentioned here) are getting more popular because of Jacob Collier's concept of super-ultra-hyper-mega-meta-lydian (or more precisely, it's derivative, super-lydian). Super-lydian is essentially another way of describing this extended lydian sonority (by that I mean, 1, 2, 3, #4, 5, 6, 7, #8). Jacob often refers to this added note as a #15, and it is common in much of his music.

A specific example of a Dmaj7#11#15 chord being used in a song is "Hideaway" by Jacob Collier, at around 6:10, in the line "Maybe you can come to stay" on the word "you".

i almost added ‘apart from Jacob collier’ to my last post lol.

The ‘#15’ scale idea does date back in jazz to at least Tristano (the two octave scales in John Klopotowski’s book on Warne Marsh, I assume he got them from Tristano.) So I assume they must show up somewhere in Triatano school stuff.