![]() ![]() The sharp-11 and flat-5 are enharmonically the same note - more on the later. Perhaps this is because of just how similar a minor 7 sharp-11 chord is to the minor 7 flat-5, also known as the half-diminished. Jazz is all about creative expression and breaking rules, so I'm sure someone has used it prominently, but I'm at a loss. In fact, I can't think of a time I've ever seen it. We don't actually see this chord very often. It really shines when the melody note is the 3rd, 7th or 9th of the chord. The only real "gotcha" with this is to avoid using it when the melody note is on the 5th, as the sharp-11 is only a half-step away and causes unpleasant dissonance. Try to also refer to them as "first degree, 2nd, 3rd." etc.The major 7 sharp-11 chord, also known as the Lydian Chord, can be used to create a floating, pleasing and only slightly unresolved major chord sound. Try to put all of them together in this key (C major) to hear how they work together. To help you put this into practice, in the fretboard diagrams is a common way to play all 7 chords on the guitar. Once we have been through the process we are left with another formula to remember, which is as follows: The F# is clearly not in the C major scale and therefore cannot be used. On the other hand, D7 wouldn't work here because it has D, F#, A & C. So, for example, when looking at D (The second degree of the scale) we know that a Dm fits in (using the notes D, F & G) and now we can use Dm7 as well because that has D, F, G & C in it, which are all notes from the C major scale. The process is the same, you create the chord using just the notes in the C major scale. Just as we did when we harmonised the key of C major to triads, we can now dot the same with 7th chords. ![]()
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