The 7#11 Chord Demystified: Construction, Usage, and Musical Applications

Keywords

7#11chord Dominantseventhsharpeleven Jazzchords Chordconstruction Musictheory Pianochords Guitarchords Chordprogressions Extendedchords Lydiandominant Voiceleading Harmonicfunction Musicalexamples Chordexercises

Mastering the 7#11 Chord: A Comprehensive Guide

The 7#11 chord, also known as the dominant seventh sharp eleven, is a rich and colorful extended chord that adds a unique flavor to harmonic progressions. This chord is widely used in jazz, fusion, and contemporary music to create tension and harmonic interest.

Definition and Explanation

Musical Examples

Here are practical musical examples to demonstrate the concepts:

Musical Score
Musical Score

The 7#11 chord is a dominant seventh chord with an added sharp eleventh (or augmented fourth). The basic formula is:

  • Root
  • Major third
  • Perfect fifth
  • Minor seventh
  • Sharp eleventh (#11)

In chord symbols, it's typically written as 7#11 (e.g., C7#11) or sometimes as 7(#11).

Historical Context and Musical Significance

The 7#11 chord emerged prominently in 20th century jazz, particularly in the bebop and post-bop eras. It's strongly associated with the Lydian dominant scale (the fourth mode of melodic minor), which gives it its characteristic #11 sound. This chord became a staple in the harmonic language of composers like Wayne Shorter and Herbie Hancock.

Technical Construction

Interval Structure

The intervals that make up a 7#11 chord are:

  • Root (1)
  • Major third (3) - 4 semitones above root
  • Perfect fifth (5) - 7 semitones above root
  • Minor seventh (b7) - 10 semitones above root
  • Sharp eleventh (#11) - 6 semitones above the octave (18 semitones above root)

Chord Formula

The formula can be expressed as: 1 - 3 - 5 - b7 - #11

Common Voicings

On piano, common voicings include:

  • Rootless: 3 - #11 - b7 - 9 (right hand)
  • Spread: Root (LH) - 3 - b7 - #11 (RH)

On guitar, common shapes include:

  • X-5-4-5-6-X (C7#11)
  • X-X-5-5-6-6 (G7#11)

Practical Applications

Jazz Usage

In jazz, the 7#11 is frequently used:

  • As a dominant chord resolving down a fifth (G7#11 → Cmaj7)
  • In tritone substitutions (Db7#11 instead of G7)
  • As a static dominant (holding on the V chord)

Classical Context

While less common in classical music, you can find similar sonorities in:

  • Late Romantic period (Scriabin, Debussy)
  • 20th century composers (Stravinsky, Bartók)

Pop and Rock Examples

Used more sparingly in these genres, but appears in:

  • Steely Dan's "Aja"
  • Jamiroquai's "Virtual Insanity"
  • Radiohead's harmonic vocabulary

Progressive Exercises

Level 1: Construction

Build 7#11 chords on all 12 roots, using closed position voicings.

Level 2: Voice Leading

Practice resolving 7#11 chords to their tonic (G7#11 → Cmaj7) with smooth voice leading.

Level 3: Improvisation

Improvise over static 7#11 chords using the Lydian dominant scale.

Level 4: Reharmonization

Take standard jazz progressions and substitute appropriate chords with 7#11.

Common Progressions

Here are some typical uses of the 7#11 chord:

  • II - V - I with altered dominant: Dm7 - G7#11 - Cmaj7
  • Tritone substitution: Dm7 - Db7#11 - Cmaj7
  • Static dominant vamp: G7#11 - G7#11 - G7#11

Conclusion

The 7#11 chord is a versatile harmonic color that can add sophistication and tension to your playing. By mastering its construction, voice leading, and applications across genres, you'll significantly expand your harmonic palette.

References & Further Reading

  1. Aldwell, E., & Schachter, C. (2010). Harmony and Voice Leading (4th ed.). Cengage Learning.
  2. Kostka, S., & Payne, D. (2013). Tonal Harmony: With an Introduction to Twentieth-Century Music (7th ed.). McGraw-Hill.
  3. Piston, W., & DeVoto, M. (1987). Harmony (5th ed.). W. W. Norton & Company.
  4. Schoenberg, A. (1983). Theory of Harmony. University of California Press.
  5. Tagg, P. (2014). Everyday Tonality II: Towards a Tonal Theory of What Most People Hear. Mass Media Music Scholars' Press.

Related Articles

No related articles found.