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Topic: The #11 sound |
Stefan Robertson
From:
Hertfordshire, UK
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Posted 25 May 2016 1:03 am |
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So I have just started using #11. I'll be honest you have to let your ears get accustomed to the sound. Like the harmonic or melodic modes it can throw your ears into tonal madness.
But have a few queries.
Do you use them with M/m/Dominant Chords?
In a typical 2-5-1 Bop Where would you put it in?
Can it be used during a turnaround like a 13th?
Is it commonly used for a particular substitution.
Any advice would help. All the best family.
_________________
Stefan
Bill Hatcher custom 12 string Lap Steel Guitar
E13#9/F secrets: https://thelapsteelguitarist.wordpress.com
"Give it up for The Lap Steel Guitarist" |
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Ben Edmonds
From:
Greenfield, Massachusetts, USA
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Posted 25 May 2016 3:41 am
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In a II V in minor use the b6dom 7#11 resolving to V7altered to one. In C minor that's Ab7#11 to G7alt to C minor7
Ab is a substitute for D7 so it works nice.
There many uses other than that but in my mind that's the most common. |
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Brian Evans
From:
Nova Scotia, Canada
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Posted 25 May 2016 5:01 am
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here is a good article/lesson on mixolydian #11 as a V chord sound. http://www.jazzguitarlessons.net/dominant-chord-3.html
#11 is more of a #4 in a scale, and implies a major third and a natural fifth. It's obviously the same note as a flat fifth, which implies a minor third and a natural fourth.
That's more theory that I need today...  Takeaway from this little diversion - Fake book changes are often written by Berklee graduates driven to put every nuance of a melody in a vertical chord, and simplifying chords and letting the melody take care of itself is not a bad thing... |
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Ben Edmonds
From:
Greenfield, Massachusetts, USA
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Posted 25 May 2016 5:51 am
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| I didn't realize this was in no pedal so I have no idea exactly what voicing you have available to you. Same rules apply though just I don't know what you can get |
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Mike Neer
From:
NJ
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Posted 25 May 2016 6:16 am
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To play the #11 or lydian sound, simply think of the triad a whole step up from your major triad: for CMaj7#11, play a D triad. To improvise over CMaj7, play a B minor pentatonic scale.
It is a sound you usually encounter over the I chord, but you can also play it over a dominant--in that case (in the key of C), in order to play D9#11, you could use the 4th mode of the A melodic minor scale, also known as D Lydian Dominant. This works well for a II7 going to the V7.
_________________
http://www.steelinstruction.com/
http://mikeneer.com |
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Stefan Robertson
From:
Hertfordshire, UK
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Stefan Robertson
From:
Hertfordshire, UK
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Posted 9 Jun 2016 1:44 pm
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Tried the # 11 in a 251 Dm7 - G7 - CM7#11
Man it sounds terrible
My ears really aren't use to that tension.
_________________
Stefan
Bill Hatcher custom 12 string Lap Steel Guitar
E13#9/F secrets: https://thelapsteelguitarist.wordpress.com
"Give it up for The Lap Steel Guitarist" |
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Stefan Robertson
From:
Hertfordshire, UK
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Posted 9 Jun 2016 1:48 pm
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I tried playing the DMaj while the 1 was being played. Ouch.
What am I doing wrong Mike
_________________
Stefan
Bill Hatcher custom 12 string Lap Steel Guitar
E13#9/F secrets: https://thelapsteelguitarist.wordpress.com
"Give it up for The Lap Steel Guitarist" |
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Stefan Robertson
From:
Hertfordshire, UK
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Posted 9 Jun 2016 1:50 pm
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OK I think I got it.
Definitely need to stay away from the bass. Sounds good using higher octaves. Otherwise train wreck
_________________
Stefan
Bill Hatcher custom 12 string Lap Steel Guitar
E13#9/F secrets: https://thelapsteelguitarist.wordpress.com
"Give it up for The Lap Steel Guitarist" |
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