Eleventh chord: Difference between revisions
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[[Image:Eleventh_chord.gif|thumb|left| |
[[Image:Eleventh_chord.gif|thumb|left|Major eleventh chord, Cmaj<sup>11</sup>. {{Audio|Eleventh chord diatonic on C.mid|Play}}]] |
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[[Image:Eleventh chord without third on C.png|thumb|[Dominant] eleventh chord in F, on C (C11). "As it appears in actual music": C, —, G, B{{music|b}}, D, F.<ref name="Stephenson">Stephenson, Ken (2002). ''What to Listen for in Rock: A Stylistic Analysis'', p.87. ISBN 978-0-300-09239-4.</ref> {{Audio|Eleventh chord without third on C.mid|Play}}]] |
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[[Image:Minor eleventh chord Herbie Hancock Maiden Voyage.png|thumb|Opening minor eleventh chord (Am7/D) from [[Herbie Hancock]]'s "[[Maiden Voyage (composition)|Maiden Voyage]]".<ref name="Kernfeld">Kernfeld, Barry (1997). ''What to Listen for in Jazz'', p.68. ISBN 978-0-300-07259-4.</ref> {{audio|Minor eleventh chord Herbie Hancock Maiden Voyage.mid|Play}}]] |
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In [[music]], an '''eleventh chord''' is a [[chord (music)|chord]] |
In [[music theory]], an '''eleventh chord''' is a [[chord (music)|chord]] that contains the [[tertian]] [[extended chord|extension]] of the [[eleventh]]. Typically found in [[jazz]], an eleventh chord also usually includes the [[seventh (chord)|seventh]] and [[ninth]], and elements of the basic [[triad (music)|triad]] structure. Variants include the '''dominant eleventh''' (C<sup>11</sup>, C–E–G–B{{music|flat}}–D–F), '''minor eleventh''' (Cm<sup>11</sup>, C–E{{music|flat}}–G–B{{music|flat}}–D–F), and '''major eleventh chord''' (Cmaj<sup>11</sup>, C–E–G–B–D–F).<ref>Smith, Johnny (1980). ''Mel Bay's Complete Johnny Smith Approach to Guitar'', p.231. {{ISBN|978-1-56222-239-0}}.</ref> Using an augmented eleventh produces the '''dominant sharp eleventh''' (C<sup>9{{music|sharp}}11</sup>, C–E–G–B{{music|flat}}–D–F{{music|sharp}}) and '''major sharp eleventh''' (Cmaj<sup>9{{music|sharp}}11</sup>, C–E–G–B–D–F{{music|sharp}}) chords. |
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[[Image:Eleventh chord |
[[Image:Eleventh chord without third on C.png|thumb|Dominant eleventh chord, with the third omitted – "as it appears in actual music"<ref name="Stephenson">Stephenson, Ken (2002). ''What to Listen for in Rock: A Stylistic Analysis'', p.87. {{ISBN|978-0-300-09239-4}}.</ref> (C<sup>11</sup> or C<sup>9sus4</sup>). {{Audio|Eleventh chord without third on C.mid|Play}}]] |
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However, since the [[major and minor|major]] [[diatonic and chromatic|diatonic]] eleventh would create a dissonant [[ninth|minor ninth]] interval with the [[third (chord)|third]] of the chord, including the third is a rare phenomenon, even in [[20th-century classical music]].{{citation needed|date=July 2009}} Though rare, in [[rock music|rock]] and [[popular music]], the third of the dominant eleventh ("as theoretically conceived": C, E, G, B{{music|b}}, D, F {{Audio|Dominant eleventh chord on C.mid|play}}), for example, is usually omitted.<ref name="Stephenson"/> It may be notated in charts as, C11, or, more often, "descriptively," as Gm7/C.<ref name="Stephenson"/> The fifth is also sometimes omitted, thus turning the chord into a [[suspended chord]] (C, B{{music|b}}, D, F). |
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[[Image:Eleventh chord C11 chord.png|thumb|left|Dominant eleventh chord, C<sup>11</sup>, with the third included. V<sup>11</sup> in F major.<ref>Kostka & Payne (1995). ''Tonal Harmony'', p.431. Third Edition. {{ISBN|0-07-300056-6}}.</ref> {{Audio|Eleventh chord C11 chord.mid|Play}}]] |
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As the upper extensions (7th, 9th, 11th) constitute a triad, a dominant eleventh chord with the 3rd and 5th omitted is often notated as a triad with a bass note. So C-B{{music|flat}}-D-F is written as B{{music|flat}}/C, emphasizing the ambiguous dominant/subdominant character of this voicing. |
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A perfect eleventh creates a highly dissonant [[ninth|minor ninth]] interval with the [[third (chord)|major third]] of major and dominant chords. To reduce this dissonance the third is often omitted<ref name=11world>{{cite web |last=McCormick |first=Scott |title=The Lush World of Eleventh Chords |url=https://blog.discmakers.com/2019/01/the-lush-world-of-eleventh-chords/ |date=18 January 2019 |access-date=31 March 2019}}</ref> (such as for example in the dominant eleventh chord that can be heard 52{{nbs}}seconds into the song "[[Sun King (song)|Sun King]]" on The Beatles' ''[[Abbey Road]]'' album), turning the chord into a [[Suspended chord|suspended ninth chord]] (e.g. C<sup>9sus4</sup>, C–G–B{{music|flat}}–D–F), which can be also notated as Gm<sup>7</sup>/C.<ref name="Stephenson"/> |
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In the dominant eleventh, because this minor ninth interval between the third and the eleventh is more problematic to the ear and to [[voice leading]] than a major ninth would be, alterations to the third or eleventh scale degrees are a common solution. When the third is lowered, a minor eleventh chord is formed with a major ninth interval between the two notes in question (e.g. C, E{{music|flat}}, G, B{{music|flat}}, D, F) {{Audio|Minor eleventh chord on C.mid|play}}.<ref name="Miller"/> Similarly, the eleventh may be raised chromatically over a major triad (e.g. to F{{music|sharp}} in a C major chord) to imply the lydian dominant mode. A less common solution to the issue is to simply omit the third in the presence of the eleventh, resulting in a chord enharmonic to the suspended chord (sus4). This type of chord should be notated as such.{{citation needed|date=July 2011}} |
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Another solution to this dissonance is altering the third or eleventh factor of the chord to turn the problematic minor ninth interval within the chord into a major ninth.<ref name="Miller">Miller, Michael (2004). ''Complete Idiot's Guide to Solos and Improvisation'', p.52. {{ISBN|978-1-59257-210-6}}.</ref> A dominant eleventh chord can be altered by lowering the third by a semitone for a minor eleventh chord, or by raising the eleventh by a semitone for a dominant sharp eleventh chord, implying the [[lydian dominant]] mode. |
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| ⚫ | In the [[common practice period]], |
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As its upper extensions (7th, 9th, 11th) constitute a triad, a dominant eleventh chord with the third and fifth omitted can be notated as a [[compound chord]] with a bass note. So C–B{{music|flat}}–D–F is written as B{{music|flat}}/C, emphasizing the ambiguous dominant/subdominant character of this voicing. |
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==Fourth== |
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| ⚫ | In the [[common practice period]], the root, 7th, 9th, and 11th are the most common factors present in the V<sup>11</sup> chord, with the 3rd and 5th typically omitted. The eleventh is usually retained as a common tone when the chord resolves to I or i.<ref name="B&S 183-84">Benward & Saker (2009). Music in Theory and Practice: Volume II, p.183-84. Eighth Edition. {{ISBN|978-0-07-310188-0}}.</ref> |
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[[Image:Suspended fourth chord on C in first inversion.png|thumb|right|Third inversion C suspended fourth chord. The "fourth" is the bass. [[Quartal and quintal harmony|Quartal]] or gapped [[ninth chord]] on F.]] |
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The '''fourth''' [[factor (chord)|factor]] of a [[chord (music)|chord]] is the [[note (music)|note]] or [[pitch (music)|pitch]] four [[scale degrees]] above the [[root (chord)|root]] or [[tonality|tonal]] center. When the fourth is the [[bass note]], or lowest note, of the expressed chord, the chord is in ''first inversion'' {{audio|Suspended fourth chord on C in first inversion.mid|Play}}. However, this is equivalent to a gapped [[ninth chord]]. |
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==Relation to suspended fourth chord== |
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Conventionally, the fourth is third in importance to the root, [[fifth (chord)|fifth]], and third, being an [[added tone]]. It may be avoided as the root since that inversion may resembles a ninth chord on the fourth rather than a suspended chord on the original note. In [[jazz chord]]s and theory, the fourth is required due to its being an added tone. |
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{{Main|Suspended chord}} |
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The fourth degree is [[Octave#Equivalence|octave equivalent]] to the eleventh. The dominant eleventh chord could be alternatively notated as the very unorthodox ninth added fourth chord (C<sup>9add4</sup>), from where omitting the 3rd produces the more common ninth suspended fourth chord (C<sup>9sus4</sup>, also known as the [[Suspended chord#Jazz sus chord|jazz sus chord]]). |
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[[Image:Sus chord.png|thumb|left|Suspended chord (sus2) and added tone chord (add9) both with D ([[octave equivalency|ninth=second]]), distinguished by the absence or presence of the third (E{{music|flat}}).<ref>Hawkins, Stan. "[[Prince (musician)|Prince]]- Harmonic Analysis of '[[Lovesexy|Anna Stesia]]'", p.329 and 334n7, ''Popular Music'', Vol. 11, No. 3 (Oct., 1992), pp. 325-335.</ref>]] |
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The [[major and minor|quality]] of the fourth may be determined by the scale or may be indicated. For example, in both a major and minor scale a diatonic fourth added to the tonic chord will be major (C-'''F'''-G) while one added to the subdominant chord will be major or minor (F-'''B'''-C or F-'''B{{music|b}}'''-C), respectively. |
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{{clear}} |
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The fourth is [[octave]] equivalent to the eleventh. If one could cut out the note in between the fifth and the eleventh and then drop the eleventh down an octave to a fourth, one would have a fourth chord (CEGB{{music|flat}}D'F' – B{{music|flat}}D' = CEFG). The difference between sus4 and add11 is conventionally the absence or presence, respectively, of the [[third (chord)|third]]. |
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==See also== |
==See also== |
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Latest revision as of 05:03, 8 July 2023
In music theory, an eleventh chord is a chord that contains the tertian extension of the eleventh. Typically found in jazz, an eleventh chord also usually includes the seventh and ninth, and elements of the basic triad structure. Variants include the dominant eleventh (C11, C–E–G–B♭–D–F), minor eleventh (Cm11, C–E♭–G–B♭–D–F), and major eleventh chord (Cmaj11, C–E–G–B–D–F).[1] Using an augmented eleventh produces the dominant sharp eleventh (C9♯11, C–E–G–B♭–D–F♯) and major sharp eleventh (Cmaj9♯11, C–E–G–B–D–F♯) chords.
A perfect eleventh creates a highly dissonant minor ninth interval with the major third of major and dominant chords. To reduce this dissonance the third is often omitted[4] (such as for example in the dominant eleventh chord that can be heard 52 seconds into the song "Sun King" on The Beatles' Abbey Road album), turning the chord into a suspended ninth chord (e.g. C9sus4, C–G–B♭–D–F), which can be also notated as Gm7/C.[2]
Another solution to this dissonance is altering the third or eleventh factor of the chord to turn the problematic minor ninth interval within the chord into a major ninth.[5] A dominant eleventh chord can be altered by lowering the third by a semitone for a minor eleventh chord, or by raising the eleventh by a semitone for a dominant sharp eleventh chord, implying the lydian dominant mode.
As its upper extensions (7th, 9th, 11th) constitute a triad, a dominant eleventh chord with the third and fifth omitted can be notated as a compound chord with a bass note. So C–B♭–D–F is written as B♭/C, emphasizing the ambiguous dominant/subdominant character of this voicing.
In the common practice period, the root, 7th, 9th, and 11th are the most common factors present in the V11 chord, with the 3rd and 5th typically omitted. The eleventh is usually retained as a common tone when the chord resolves to I or i.[6]
Relation to suspended fourth chord[edit]
The fourth degree is octave equivalent to the eleventh. The dominant eleventh chord could be alternatively notated as the very unorthodox ninth added fourth chord (C9add4), from where omitting the 3rd produces the more common ninth suspended fourth chord (C9sus4, also known as the jazz sus chord).
See also[edit]
References[edit]
- ^ Smith, Johnny (1980). Mel Bay's Complete Johnny Smith Approach to Guitar, p.231. ISBN 978-1-56222-239-0.
- ^ a b Stephenson, Ken (2002). What to Listen for in Rock: A Stylistic Analysis, p.87. ISBN 978-0-300-09239-4.
- ^ Kostka & Payne (1995). Tonal Harmony, p.431. Third Edition. ISBN 0-07-300056-6.
- ^ McCormick, Scott (18 January 2019). "The Lush World of Eleventh Chords". Retrieved 31 March 2019.
- ^ Miller, Michael (2004). Complete Idiot's Guide to Solos and Improvisation, p.52. ISBN 978-1-59257-210-6.
- ^ a b Benward & Saker (2009). Music in Theory and Practice: Volume II, p.183-84. Eighth Edition. ISBN 978-0-07-310188-0.
