In every key
The same shape, moved. The symbols below are spelled the way the app spells them, which is the spelling the chord's own scale asks for rather than whichever accidental is easier to type.
- Cmaj9#11
- Dbmaj9#11
- Dmaj9#11
- Ebmaj9#11
- Emaj9#11
- Fmaj9#11
- F#maj9#11
- Gmaj9#11
- Abmaj9#11
- Amaj9#11
- Bbmaj9#11
- Bmaj9#11
Voicings
Written in C, because that is the key the encyclopedia authors them in; every one transposes unchanged.
Root Position
C · E · G · B · D · F#
advanced
LH takes C-E-G, RH takes B-D-F#. Keep the F# light so it floats rather than clashing with G.
Rootless Lydian(3-7-9-#11)
E · B · D · F#
advanced
Right hand only: 1 on E, 2 on B, 3 on D, 5 on F#. Let the bass cover the root.
Spread Two-Hand
C · G · B · E · F# · D
expert
LH C-G-B (1-3-5 wide), RH E-F#-D reaching up to the D. Roll it bottom to top for a harp-like bloom.
Where it turns up
The signature 'modern major' sound on Imaj7 chords, tonic resolutions, and especially on bIImaj7 in tritone reharmonizations. Heard constantly in the playing of Bill Evans, Herbie Hancock, and Lyle Mays. Use it anywhere a plain maj7 feels too plain.
Commonly swapped with
- Functions as a richer Imaj7
- Upper structure E-B-D-F# is a D major triad, so think D/Cmaj7
- Interchangeable with Cmaj7#11 when you want the 9th present