- for an fmaj7 or f6 in root position, one possibility is to voice the ebmaj7#11 as eb g a d (this assumes that the bassist is thumping roots and 5ths).

the other obvious possibility is to voice the ebmaj7#11 as f a bb d.


- for a rootless fmaj9 (a c e g) or rootless f69 (a c d g), your options for the  ebmaj7#11 voicing are bb d f a (which includes the 9th) or a d eb g.


- for an f major quality chord with c in the bottom, the options are (rooted) c d f a, c e f a, and (rootless) c d g a or c e g a. these lead nicely to either of the two ebmaj7#11 voicings listed immediately above (bb d f a or a d eb g).

- a rooted fmaj7 voiced e f a c (or rootless fmaj9 voiced e g a c), moves best to either eb g a d or f a bb d.


you should also take into account the register of the voicings. voiced too low, these chords risk sounding muddy and "grumbly", and if voiced too high, they begin to encroach upon the rh's territory.


in the version of "beatrice" that i have, the second chord is listed as gbmaj7b5 (with the b5 in the melody), but if you prefer to voice it as a gbmaj7#11, you may use the voicings i described above for the ebmaj7#11 but transposed up a m3.


pretty little tune, thanks for turning me on to it!


There are 8 comments, leave a comment.
7!

i would use 7 3 #4 6 or 3 #4 6 9 or #4 7 3 or 6 7 9 #4 (no 3rd) if major context is quite clear. how about #4 6 7 9 too?! and 9 3 #4 6/7?!!!!

i would also prefer using fragmental voicings such 3 #4 6 or just #4 5 7

selem
thanks, earl.
you might also think graving voicings from g major scale / e minor nat. or g pent. maj. / e pent. min in context of c lydian mode. as i wrote above i might avoid the 3rd in lh voicing i think the lydian mode has more open character than a major scale...i usually would emphasize the 3rd with melody while avoiding it in lh voicing at least in case of a chord type such maj7#11.

those are my thoughts...
thanks earl.  nice piano!
grabbing instead graving ....opppss
sweet indeed!

there are several legitimate left hand voicings that include a root.  many pianists play the following two half diminished voicings, for example:  1 11 b5 b7 or b5 b7 1 11.  another example is maj7(#11).  i hear mulgrew miller, kenny barron and many others using the same shape as a v13 chord, a whole step lower.  

for fmaj7(#11) the numbers are:  1 3 #11 7 or #11 7 1 3 (in relation to a major scale).
these are the same pitches as a g13 chord, with the bass player playing a different root.  

i touched on this in my latest online lesson which you can read here:  https://earlmacdonald.com/jazz-piano-lessons/rootless-left-hand-piano-voicings.html
there is also an accompanying youtube video, where you can hear this demonstrated.

i hope this helps.
~ earl macdonald
sometime chord symbols are just describing what is happening in the melody. so in beatrice, the left hand could just play fmaj7 - ebmaj7 - fmaj7- gbmaj7 without needing to include the #11 in the chord voicings. the #11 might be in the rh melody, and should also be included in your chosen scale (lydian) during the improv - but it's not always necessary to include it in the lh chord as well.

i find that simple 369 voicings often work well for both ordinary major 7 and #11 chords, even though 6/9 may not be specified in the original chord symbol. they are quartal voicings (perfect 4ths stacked up) so have a nice contemporary sound. if you want to beef them up with major triads in the rh (a tone up from the root, as 7 says) you'll get a classic two-handed comping voicing.  

for gbmaj7#11 this is:
lh: 369 of gb - bb eb ab
rh: ab triad - eb ab c

this gives the #11 (c) on top, but you could invert the rh ab triad to give either eb or ab on top.
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