Major seventh with ♯9 and ♯11 (1–3–5–7–♯9–♯11); dense altered extensions on major harmony.
Intervals from the root that spell this chord and its chord tones.
Scales that contain this chord’s notes and usually fit over it.
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The major seventh sharp ninth sharp eleventh chord stacks maj7 with two strongly altered extensions: ♯9 and ♯11 (1-3-5-7-♯9-♯11 as a conceptual set). It is not a everyday diatonic chord; it behaves like a composed polychord color or a modern jazz voicing choice on major pedals (sometimes related to split-scale or hybrid-scale thinking). Expect a bright, biting, chromatic surface—excellent for short dramatic moments when a plain maj7 is too tame.
Begin from maj7 and add ♯9 and ♯11 above the bass. Exact voicing determines which intervals listeners notice first.
Film scoring, modern jazz reharmonizations, and experimental pop production on static major centers.
Thin the voicing; separate ♯9 and ♯11 registrally; omit the fifth if needed.
Major seventh stability with chromatic upper extensions that create sharp, modern dissonance.
| Interval | semitones | Note | ||
|---|---|---|---|---|
| 0 | C♯ | |||
| 4 | E♯ | |||
| 7 | G♯ | |||
| 11 | B♯ | |||
| 15 | D𝄪 | |||
| 18 | F𝄪 |