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[[Image:Eleventh_chord.gif|thumb|left|EleventhMajor eleventh chord on C, CMACmaj<sup>11</sup>. {{Audio|Eleventh chord diatonic on C.mid|Play}}]]
[[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}}]]
[[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}}]]
In [[music theory]], an '''eleventh chord''' is a [[chord (music)|chord]] whichthat contains the [[tertian]] [[extended chord|extension]] of the [[eleventh]]. Typically found in [[jazz]], an eleventh chord will also usually includeincludes the [[seventh (chord)|seventh]] and [[ninth]], along withand 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 the '''major eleventh chord'''. Symbols include: Caug11, C9(aug11), C9(+Cmaj<sup>11)</sup>, C9alt11, Cmin9(11), C-(9)(11C–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> TheUsing eleventhan in anaugmented eleventh chordproduces is, "almost always sharped, especially in jazz,"<ref name="Miller">Miller, Michael (2004).the ''Complete Idiot'sdominant Guidesharp to Solos and Improvisationeleventh''', p.52. ISBN 978-1-59257-210-6.(C</refsup> at least in reference to the third, with CM11 (major eleventh): C-E-G-B-D-F9{{music|sharp}}11</sup>, Cm11 (minor eleventh): C-EC–E–G–B{{music|flat}}-G-B–D–F{{music|flatsharp}}-D-F,) and C11'''major (dominantsharp eleventh):''' C-E-G-B(Cmaj<sup>9{{music|flatsharp}}-D-F.11<ref name="Miller"/sup>, C–E–G–B–D–F{{music|sharp}}) chords.
[[Image:Eleventh chord C11without chordthird on C.png|thumb|left|Dominant eleventh chord on C, C<sup>11</sup>, ''with'' the third. V11omitted – "as it appears in Factual major.music"<ref>Kostka &name="Stephenson">Stephenson, PayneKen (19952002). ''TonalWhat Harmonyto Listen for in Rock: A Stylistic Analysis'', p.431. Third Edition87. {{ISBN |978-0-07300-30005609239-64}}.</ref> (C<sup>11</sup> or C<sup>9sus4</sup>). {{Audio|Eleventh chord C11without chordthird on C.mid|Play}}]]
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).
[[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}}]]
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.
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"/>
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}}
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.
[[Image:Eleventh chord voice leading.png|thumb|Voice leading for dominant eleventh chords in the common practice period.<ref name="B&S 183-84"/> {{Audio|Eleventh chord voice leading.mid|Play}}]] ▼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".<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> The 11th is usually retained as a common tone when the, "V<sup>11</sup> resolves to I or i".<ref name="B&S 183-84" /> ▼
TheAs suspendedits chordupper derivedextensions from(7th, the9th, 11th) constitute a triad, a dominant eleventh chord (with the third omitted and thefifth seventhomitted flattened),can isbe particularly useful in diatonic musicnotated whenas a composer or accompanist wishes to allow the [[Toniccompound (music)|tonicchord]] note ofwith a keybass tonote. beSo heardC–B{{music|flat}}–D–F whileis alsowritten as B{{music|flat}}/C, soundingemphasizing the [[Dominantambiguous (music)|dominant]]/subdominant character of thatthis key in the bassvoicing.
▲[[Image:Eleventh chord voice leading.png|thumb|Voice leading for dominant eleventh chords in the common practice period.<ref name="B&S 183-84"/> {{Audio|Eleventh chord voice leading.mid|Play}}]]
==Fourth==
▲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 > The 11th is usually retained as a common tone when the, "V<sup>11</sup> resolves to I or i".<ref name="B&S 183-84" />
[[Image:Fourth of a suspended fourth chord on C.png|thumb|left|Fourth (F), in red, of a C [[suspended fourth chord]] ({{audio|Fourth of a suspended fourth chord on C.mid|Play}}).]] ▼[[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.]]
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]].
==Relation to suspended fourth chord==
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.
{{Main|Suspended chord}}
▲[[Image:Fourth of a suspended fourth chord on C.png|thumb|left|Fourth factor (F), in red, of a C [[suspended fourth chord]] , C<sup>sus4</sup> ({{audio|Fourth of a suspended fourth chord on C.mid| Playplay}}).]]
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]]).
[[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>]]
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.
{{clear}}
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]].
==See also==
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