Piano Guidance
Piano Guidance
Photo: Ketut Subiyanto
The major add 11 is spelled 1 3 5 11 or, equivalently, 1 3 4 5, so in C the chord has the notes C, E, G and F. As an arpeggio it's not very interesting; a 4-note subset of the major scale. You can figure that out yourself if you want to. As a chord it poses some challenges because of the semitone between the 3 and 4.
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Read More »Adding the natural 11 to a major triad is considered rather outré in the jazz world; usually a #11 is expected and 11 is considered an "avoid note". On the basis that one player's bum note is another's hip new sound, that makes these chords worth a look. The major add 11 is spelled 1 3 5 11 or, equivalently, 1 3 4 5, so in C the chord has the notes C, E, G and F. As an arpeggio it's not very interesting; a 4-note subset of the major scale. You can figure that out yourself if you want to. As a chord it poses some challenges because of the semitone between the 3 and 4. Here are some easy ones for C Maj Add 11 in ascending positions; all are movable: The general sound-world isn't dissimilar to the diatonic fourths we looked at in the previous post, and that's not really surprising; after all, G-C-F is a stack of fourths, so it's only the E that makes the difference. It certainly doesn't sound like a stack-of-thirds type of chord. Playing a bunch of these voicings in succession creates a washy, modal kind of effect before we've even done anything fancy.
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Read More »In a jazz context these chords could sub for Dm7, Fmaj7#11, G9, Bm7b5; using them throughout gives a modal feel to standard changes, erasing the transitions between chords and washing out the contrasts. To me this is a slight variation on quartal harmony that provides some different sounds and voicings, and I'd use it in a similar way. We can do the same trick as before, superimposing another Min Add 11 to cover off six of the seven notes diatonic notes. This time, though, we'll get the Natural Minor scale instead of Major, and the other chord we want is built off the fourth instead of the fifth. So in C we choose F Min Add 11, which is F Ab C Bb. Here are the two chords played with the corresponding easy fingerings: These offer some variations on the Maj Add 11 sounds that are still easy to apply wherever you'd use a major scale or one of its modes. If you don't like the weird stuff in the next section, skip to the end to see another application of Min Add 11s...
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