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Changes
m
→Major 11th (Lydian)
: '''Root{{9}}{{s}}11''' as in '''C{{9}}{{s}}11'''
The '''Dominant 11th chord''' uses the A11 rather than P11, making the interval between the M3 and A11 a M9 rather than a m9, a more harmonious interval, so we incorporate the 3rd into the chord. This The M3, along with the root , have a rich interaction on the augmented triad formed by the 7th, 9th, and 11th. It appears very similar to a Dominant 9th, just with a flatted 5th, and functions the same way. Compared to the dominant 11th, this chord can function more strongly in a dominant - tonic progression when the 11th chord is built upon the 5th note of the scale. For C Major, it would consist of G B F A C{{s}}. The M3 is the leading tone and naturally resolves to the tonic note (B - C). Similarly, the augmented 11th naturally resolves down a half-step to the tonic (C{{s}} - C). The 7th, 9th, and 11th of the chord are not the diatonic sub-dominant major triad (F A C) like they are in the dominant 11th, but an augmented triad (F A C{{s}}), which frees the chord from feeling like it has slight sub-dominant qualities, and makes it more dissonant, strengthening the resolution of the following tonic chord.
'''''R - M3 - (P5) - m7 - M9 - A11'''''
: '''Root{{maj}}{{11}}''' as in '''C{{maj}}{{11}}'''
This chord is also called the '''Lydian chord''' because it infers the Lydian mode (major scale with {{s}}4th). (This is the diatonic 11th chord built upon the 4th note of the major scale (F A E G B in C Major).) This follows the circle of fifths clockwise from the root note, excluding the 4th note (M6) (C G D (A) E B F{{s}}).
'''''R - M3 - (P5) - M7 - M9 - A11'''''