D9#11 guitar chord
The standard grips this chord is usually shown with.
- Tap a note to hear it
- Arrows change position
- Fingers, notes or intervals
- Play the chord
About D9#11 — root position
D9#11 is D, F#, A, C, E and G# — D9 with the raised eleventh added on top.
It sounds wide and glassy, bright rather than tense. The ♯11 clears the major third by a whole step, so it adds height without the collision a natural eleventh makes.
D9#11 notes and formula
| D | F# | A | C | E | G# |
|---|---|---|---|---|---|
| 1 | 3 | 5 | ♭7 | 9 | ♯11 |
Dominant — the lydian dominant sound.
Also written D9(#11), D9+11 or D9♯11. The same chord either way; which spelling you meet depends on who wrote the chart.
How to play D9#11
D9#11 in root position puts D in the bass, which is the chord as it is spelled: the note it is named after underneath everything else.
7 of D9#11’s 8 common shapes do this: xx0112, x54554, x5657x, 10-9-10-9-9-10, 10-x-10-11-9-x, 10-11-10-11-10-10, x-x-12-13-13-14.
Start with xx0112 — no barre and 1 open string. 1 of the 8 shapes here sits in open position. 3 of the 8 need a barre. Together they cover the neck from the 1st fret to the 14th.
| Frets | Where | Bass | Top | Hand |
|---|---|---|---|---|
| xx0112 | open position | D, root position | F# | 1 open string |
| x54554 | 4th fret | D, root position | G# | barred |
| x5657x | 5th fret | D, root position | F# | all fretted |
| x90798 | 7th fret | F#, 1st inversion | C | 1 open string |
| 10-9-10-9-9-10 | 9th fret | D, root position | D | barred |
| 10-x-10-11-9-x | 9th fret | D, root position | G# | all fretted |
| 10-11-10-11-10-10 | 10th fret | D, root position | D | barred |
| x-x-12-13-13-14 | 12th fret | D, root position | F# | all fretted |
The same notes rebuilt from scratch give 8 shell, 13 rootless and 2 open string voicings, each on its own page.
Tensions. A shell of D9#11, root, third and seventh, leaves a string free, and the tones that belong over it are the b13 (Bb) and the 13 (B).
How to use D9#11
D9#11 is a dominant with its tension raised, so it still points at G — harder than a plain seventh does, because the altered tones sit a semitone from where they are going.
Voice by voice, D9#11 → G. 3 voices move by a semitone, and one note is common to both chords.
| In D9#11 | Moves | In G |
|---|---|---|
| D, the root | stays where it is | D, the fifth |
| F#, the major third | rises a semitone | G, the root |
| A, the fifth | falls a whole tone | G, the root |
| C, the flat seventh | falls a semitone | B, the major third |
| E, the ninth | falls a whole tone | D, the fifth |
| G#, the sharp eleventh | falls a semitone | G, the root |
What to play over D9#11
Every note of D9#11 is in D lydian dominant.
Chords near D9#11
Change one note of D9#11 and you have D9 (drop the flat fifth), D9b5 (drop the fifth) or D13 (the flat fifth becomes a sixth).
D9#11 is an altered chord — a dominant seventh with its fifth or ninth moved. Altered dominant chords on every root.
On D9#11’s sound and use this page follows Mark Levine, The Jazz Theory Book (Sher Music, 1995). The shapes and the derived voicings come from different places, and both are explained in where the chords and the theory come from.