This means we can cover off six of the seven notes of the major scale with a pair of Maj Add 11s. Explicitly, here are two octaves of the C major scale with the two Maj Add 11 chords it contains: One natural question is whether we can find another copy of this chord in the same key, and it turns out we can. Obviously, since the C major scale is C D E F G A B, the chord C E F G is diatonic to the key of C major. Playing a bunch of these voicings in succession creates a washy, modal kind of effect before we've even done anything fancy. It certainly doesn't sound like a stack-of-thirds type of chord. The general sound-world isn't dissimilar to the diatonic fourths we looked at in the previous post, and that's not really surprising after all, G-C-F is a stack of fourths, so it's only the E that makes the difference. Here are some easy ones for C Maj Add 11 in ascending positions all are movable: As a chord it poses some challenges because of the semitone between the 3 and 4. You can figure that out yourself if you want to.
As an arpeggio it's not very interesting a 4-note subset of the major scale. The major add 11 is spelled 1 3 5 11 or, equivalently, 1 3 4 5, so in C the chord has the notes C, E, G and F. On the basis that one player's bum note is another's hip new sound, that makes these chords worth a look. Adding the natural 11 to a major triad is considered rather outré in the jazz world usually a #11 is expected and 11 is considered an "avoid note".
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