Chord Shapes

Dominant 11th Flat 9th

Intervals (theoretical): 1-3-5-b7-b9-11, though real-world voicings usually thin this out to a compact cluster of guide tones plus b9 and 11. This sonority belongs to the most highly charged layer of dominant harmony, combining both the b9’s clash with the root and the 11’s potential clash with the 3rd. It is most often found in arranged horn or orchestral voicings as an elaboration of V7b9, where the upper instruments supply added 11th colour. Treat it as a colouristic extension of V7b9 in cadential spots rather than an everyday comping chord.