Major 11th chords - what they are & how to use them in progressions

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This video will explain what major 11th chords are and show you how to use major 11th chords in your chord progressions.
Major 11th chords are not widely used in popular music, but they are an interesting sounding chord that can transform your songwriting. Watch this video and learn all about the major 11th chord!
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Timestamps :
0:00 - Major 11th chords - what they are & how to use them
0:10 - How to write Major 11th Chords in notation
0:29 - How to construct Major 11th chords
1:00 - How to find 9th & 11th notes
1:58 - C Major Chord Examples
3:05 - C Major Chord Comparisons
3:30 - Why does the Major 11th chord sound like it does?
4:48 - How to use Major 11th chords in your chord progressions
#major11thchord #musictheory #writeasong

[@WriteASong]

Learn about more extended chords here : kzbin.info/www/bejne/pGjaqZmjgs95o7c

[@pnintetr]

Another thing I aim to experiment is a much more dissonant variation: the major 11 sharp 5. This chord arises from the ionian augmented, the 3rd mode of the harmonic minor. One thing I come up with is Fm7 ➡️ B°7 ➡️ Eb.M11 (#5) ➡️ Cm / Eb ➡️ Dm11 (b5, b9) ➡️ G7 (b9, #11, b13) ➡️ CmM11, another long chord progression but this time almost entirely in C harmonic minor. Eb.M11 (#5) can be interpreted as B°7 over Eb+, so by resolving only the upper structure B°7 ➡️ Cm, one can create much spicier and sadder atmosphere in the minor progression.

[@pnintetr]

My personal favorite usage of pure major 11th chord is on the bIII of minor. For example, I can try a long chord progression in C minor : Fm11 ➡️ Bb.7 (#11) ➡️ Eb.M11 ➡️ Ab.M7 (#11) ➡️ Dm11 (b5) ➡️ G7 (b9, #11, b13) ➡️ CmM13. This occurs when melody notes are 11th apart from the bass. Alternatively one can use Eb.M7 (#11) for the consonance of the chord itself, but I prefer Eb.M11 because the Ab note makes the transition to Ab.M7 (#11) smoother.

[@GBsdclf01]

Ah yes, the Major 11th! That one step too far lol. Most of those who know it completely cast it off as a no-no chord and something that shouldn't be used. I actually think they're kinda cool, and have used them (or similar voicings) a few times in my own music. Good video here and I agree the most conventionally useful implementation is as an extension of the tonic. Good to see someone sticking up for what is probably the most hated/neglected chord for people into music theory.

[@pnintetr]

Oh, there is another weird idea I should've mentioned together... I can think of formal chord progressions on Lydian. For example, on Gb Lydian scale, one can see (Ab.7 ➡️) Db.M11 ➡️ Gb.M9 #11 as the formal (II-)V-I. If we consider the upper structures only, then we can extract the normal V-I (Ab.7 -- Db.M7) in Db major scale. Db major 11 can be voiced as C° / Db (or Ab.7 / Db), similar to Db dominant 11 often voiced as B / Db.

[@kamrankerim636]

I use altered versions of 9, 11 and 13 chords, well, since only 4 fingers :D . I play 1, 3 / b3, 7 / b7 and one of those above. My favourite ones are minor 9 and dominant 9. However dom13 is a great transition chord for bluesy feeling, also the #11 chords.

[@WriteASong]

Yes, there are lots of useful alterations! I will eventually do some videos on them.

[@christopherheckman7957]

In the Schillinger System of Musical Composition, the 4-part harmony version of 9ths, 11ths, and 13s are 1-3-7-9, 1-7-9-11, and 1-9-11-13. (When removing notes from the voicing, 5 is redundant, and it's more important to have a 7 than a 3.)

[@M2Mil7er]

#11 major chords sound better to my ear, even if it's not diatonic. When the #11 is in a higher register, it doesn't feel as dense and crunchy, and feels more lydian.

[@WriteASong]

Yes, there are lots of alterations that are in many ways more useful! I'm hoping to do some videos on them in the future.

[@christopherheckman7957]

Not surprising; the key note for the Lydian mode is #4 (= #11).

[@robinmartini7968]

Indeed, an absolutely delicious chord!

[@M2Mil7er]

@@christopherheckman7957 my point exactly!

[@Hansprive]

You've hidden the sour chord Cmaj11 nicely, but I think it's only a theoretical chord, and that it is, in practice, always replaced by a Cmaj+11, thus with Fsharp note on top. I just keep hearing that G7 on top of a C bass, with an added 13 of that G chord, the E. Conclusion: if one really wants to play those notes together I would call it a G13/C in some kind of an inversion. What do you think?

[@WriteASong]

I'm not sure I understand your question - what you've described with the C bass has the notes C G B D F E , the same as Cmaj11?

[@Hansprive]

@@WriteASong Yes, exactly! But then the E (the 13 of the G13) is placed between that C and G; I was just saying how I would approach that Cmaj11 chord theoretically, because in it that F (sus4) is giving too much friction with the real third E, which is also played. It boils down to that reconfiguring that Cmaj11 chord, in theory, into that less strange G13/C inversion, just feels better to me. That's all. Thanks for replying anyway!;-)

[@christopherheckman7957]

I think you meant Cmaj♯11? Cmaj+11 would be just the notes C, E, G, and F.

[@bambees.k0wgirl]

this is so cool !! what musical genres does this chord associate with?

[@WriteASong]

I'd say mainly jazz and prog. It is more common to see it played with notes removed, such as the 5th.

[@ironmatic1]

I understand what you're trying to show, but the way you've illustrated your example at 7:00 could be confusing-those are just passing tones in that case.

[@fly12k17]

What if only major3rd ,, 9 ,,,11. Note.. Without 7 note... What chord that would be???

[@WriteASong]

If it's 1 3 5 9 11 you could call it Majoradd9add11.

[@fly12k17]

@@WriteASong thank you 🙏

[@jonathanmcqueen9363]

Why does the cmaj9 chord have the "B" note in it. Why does it have to be included. Why not: C E G D

[@WriteASong]

It builds upon the Cmaj7 chord which has the B note in it. C E G D would be Cadd9. I made a video about add9 chords here : kzbin.info/www/bejne/pGjaqZmjgs95o7c

[@jonathanmcqueen9363]

@@WriteASong thanks

[@TruthSurge]

This chord sounds like utter sht because it's the root chord of a key combined with the dom 7 of that same key. ugh. Just horrid, imo. At least with no context it is.