Very well explained David. Thanks !

Thank you for sharing your usefull knowledge on this topic.

I'll just use these chords, but as texture chords, without resolving, very intuitive video!

Amazing teaching. Not many talk about the 11th chord, but you just showed the importance.

Another Lydian sound methinks. Thank you for your explanation!

Wonderful ! So helpful, thank you!!! You really helped me with a music theory class assignment.

Excellent. Fully informative with valuable insights re; the Sus 4 aspect! I hit a brick wall when I saw DbMaj#11 yesterday in one of my Jazz guitar books (I like to play piano too and the advanced, fully accomplished jazz piano in such books intrigues me) and now I know. Thank you, Mr. Burt. Liked and Subscribed. Edit: there is also the matter of Jazz pianists preferring to 'sharp' the 11th, because being a half tone away from the E in some voicings, the 11th can be very dissonant. I hope this adds to the conversation.

Excellent explanation! Thanks!

Amazing explanation, thank you!

Thank you David, greetings from Chile

Thats what i call teaching! thank you so much! can you do a video on how to use the 11th chord and how it can be resolved in different ways?

Checking this video out ten years later. Hope the information is still good.

really excellent. thank you

It's very refreshing to see someone post a video and actually explain what an 11th chord is in the real world of music. Kudos for the mention of always adding the 9th and omitting the 3rd on 11th chords --if no further explanation is given ( m11, #11 ). Yes, the 3rd in there "doesn't quite cut it" Over the years in pop sheet music, I have noticed the chord symbol of the plain 11th ( like C11 ) has fallen by the wayside--even when used by artists who have been playing them for years like Steely Dan/Donald Fagen, Chicago. Their books from years ago often did refer to these chords a 11th's. This cluster is normally now referred to as Bb/C , Gm7/C or C9sus4.--although m11 and 7#11 still appear.

very nice thank u

Thank you.A very good lecture

I just wrote a song with a #11, by accident, and realized “I have no idea why this is working”. Sent me down a rabbit hole chasing the theory behind the weird move my brain made. Video was great!! Particularly pointing out the obtuse naming a lot of publications use for these chords. Very helpful 🙏

You are my teach you make things easy

This is the deep explanation I've been searching for. I label the 11th a dominant function chord? C¹¹[CEGBbDF] How to voice the 11th. Sure it could be simpler F/G ... favorite voicing for my exploration today is the end of the 2nd phrase in a Billy Joel song "And So it Goes" and final cadence to others as well? Polychord seems to simplify the construction but not the sound or its function. The 11th Chord seems like the Holy Grail of all chords to understanding sound.

I posted the following question on a Facebook group: “Are F/G and G11 the same chord?” I was surprised because almost everyone said they are differnt. I was sad because that meant I had to rewrite a lot of scores. Then, I was happy to find this video. Probably I won’t redo the work.

i like to think about it like building a minor seven chord on a fifth up from the root. makes it quicker for me! i thought it sounded like a sus chord so it was great to get that confirmed here!

hi great explanation about difference between suss chord and 11th - I never looked at it that way before . Can you explain a bit about sharp 11 - when to use and any tips at all about this - thanks

i've been watching your videos and it is wonderful~ thanks for sharing. the only question... what other chords can the 11th be resolved? my equation : C (root) + Gm7 = Fmaj7 . notice that the chord resolves nicely in to a Fmaj7th chord which would be the tonic and it would be the key signature. looking at the circle of 5ths i can go around all the keys with this equation. can the minor 11th resolve in to a Maj7 chord? can that be the tonic? and what other chords i can use it to resolve it?

Make one full Vedio where u teach about each and every chord like 11th 9th 5th etc

wow thanks!! i was always a bit hazy on the difference between an 11th and a sus4!

11ths are used as an extension of a dominant 9th chord, which in turn can support the 13th. A major 7th is not usually used because although it creates some tension it is passive in nature like the 6th and.therefore, "tries to pacify a dominant situation". Interestingly, the major 7th can be used with 13ths as in Cma13. (See my tutorial on 13th chords). If you wanted to hype that chord up further, you could add a augmented 11th. (C,E,G,Bb,D,F#,A) Cma13+11. Hope this was helpful. D.

Hi David. Like many others, I took a lot from the video. Yet, I’m befuddled as ever on how extended chords(save the 9th, which isn’t an issue, because, as you say, “...a ninth is a ninth is a ninth...”) are built. So I’ve got maj, min, and dom to the ninth down, and even dom 13ths like C13. But how are Cmaj11 and Cm11 and Fmaj13 and Fmin13 built? I recall being taught that major chords alternate maj and minor thirds, and minor chords alternate minor and major thirds, but now I find nothing ANYWHERE online that confirms or refutes that, as applied to 11ths and 13ths. Does that pattern break somewhere in the stacking pattern? Seems it would have to if the correct notes of the scale are to be kept intact. Any help would be appreciated, since I can’t find an answer to this anywhere. Thank you.

What's terribly wrong with notes that are meshed together, or two semitones at the top of a voicing. I feel this to be a somewhat a subjective, yet personal approach, yet I mean no offense for I do understand the dissonances that can be mad, but I ended up getting used to these dissonances even when they're not resolving. As well as F/G (or D-7/G for the matter) does not necessarily mean it's an 11th chord. It really depends on the context of the piece, what key it is in, the melody, and what the changes are, and so forth. Such as if D-7/G resolves to Eb7 then to Abmaj7, yet the D-7/G is more of a G9sus4 chord more than anything than a G11 of which that 3rd wouldn't mesh at all with these changes at all in a welcomed fashion. Furthermore, if D-7/G goes to Cmaj7, then I agree with you on that it is simply G11 dominant V to the I. If D-7/G goes to G7, then I could see it as G9sus4 resolving to G7 (or G9), but it could be also a ii chord with the pedal note being G as well. Like if I see this progression preceding it A-7/G to D-7/G to G7 (then to Cmaj7), then I would prefer to view D-7/G to G7 as a "ii V". I would prefer not to see it as G11 going to G7, but this could be possible, but then again it would be rare and it would depend on the context of the piece I would be playing. However, the chord progression of G7 to Fmaj7/G to E-7/G to D-7 to Cmaj7 would show an example of a "ii I" as it's basically V to IV to iii to ii to I with G being pedaled the whole way through until the I. So that shows that D-7/G heading to Cmaj7 isn't necessarily always could be identified as a G11. So all I have to say is that this editor's trick you've mentioned does exist, and is probably in the majority compared to these other changes I've mentioned, but how I feel about D-7/G would be that it would either be at most times a G11, then it could be a replacement for G9sus4 as well (since D-7/G is apparently easier to read), and finally it could actually be the ii chord with the G being pedaled, yet this is few when compared to the changes before. Well that's my two cents on this matter.

this guy sound like Clint Eastwood

could you imagine if we had very long fingers and extra fingers, o wait thats what the digital world did for us

YOu lost me 06:12 You're not playing an F maj 11 f(root)--( no third )--c ( fifth)---'e flat' which is a minor seventh ...Etc.. Unless it's a dominant ( without third ) which would make sense , since your replacing the fifth with a minor third in your example