C Major 11th

Notes:C – E – G – B – D – F
Formula:R-M3-P5-M7-M9-P11
Intervals:P1-M3-P5-M7-M9-P11
Scale Degrees:1-3-5-7-9-11

Introduction

The C Major 11th piano chord (Cmaj11) consists of the notes C, E, G, B, D, F. It is a major 9th chord with an added perfect 11th, giving it a bright, expansive character with a dreamy quality found in jazz and contemporary classical music. Formula: R-M3-P5-M7-M9-P11 | Scale degrees: 1-3-5-7-9-11.

Notes

Notes:C – E – G – B – D – F

C Major 11th Inversions

PositionNotes
Root PositionC4 – E4 – G4 – B4 – D5 – F5
1st InversionE4 – G4 – B4 – C5 – D5 – F5
2nd InversionG4 – B4 – C5 – D5 – E5 – F5

Key Signature

The key of C Major 11th has No sharps or flats.

Theory: Intervals

Formula: R-M3-P5-M7-M9-P11
Intervals: P1-M3-P5-M7-M9-P11

The C Major 11th is built by stacking intervals from the root note. The formula R-M3-P5-M7-M9-P11 describes the scale degrees used. The intervals P1-M3-P5-M7-M9-P11 show the distance between each note in the chord.

C Major 11th — Frequently Asked Questions

What notes are in the C Major 11th chord?

The C Major 11th chord (Cmaj11) contains six notes: C, E, G, B, D, F. It is Cmaj9 with an added perfect eleventh. Like dominant 11ths, the third (E) and eleventh (F) clash, so the third is often omitted.

How does Cmaj11 differ from C11?

Cmaj11 has a major seventh (B). C11 has a minor seventh (Bb). Cmaj11 is dreamy and expansive; C11 is dominant and functional.

How does Cmaj11 differ from Cmaj9?

Cmaj11 adds the eleventh (F) to Cmaj9. The eleventh adds an open, expansive quality but clashes with the third.

How is Cmaj11 used in music?

Cmaj11 appears in contemporary jazz, film scoring, and ambient music. It is a complex tonic chord that sounds expansive and dreamy. Often voiced without the third for clarity.

What songs use Major 11th chords?

Major 11th chords appear in film scores, contemporary jazz, and ambient music. Pat Metheny, Bill Evans, and modern jazz pianists use maj11 for atmospheric, expansive tonic sounds.

Do I need to play all six notes?

No — drop the third to avoid the E–F clash. Practical voicing: C–G–B–D–F or C–B–D–F.

Practice Tips

  • Drop the third: C–B–D–F avoids the E–F clash and sounds open and expansive.
  • Compare Cmaj11 with C11 — major vs minor seventh creates completely different moods.
  • Cmaj11 has a cinematic, expansive quality — try sustaining it with pedal for an atmospheric wash.
  • Practice Cmaj11 as a rich tonic: it sounds more complex than Cmaj9.
  • The voicing C–G–B–D–F spread across two hands is the most practical approach.
  • Cmaj11 works beautifully in ambient and film scoring contexts.