G sharp Dominant seventh flat ninth sharp eleventh

The dominant 7♭9♯11 stacks two strong altered colors: the compact semitone rub of ♭9 above the root, and the wide, bright lift of ♯11 against the major third. The result is a dominant that feels both shadowed and neon-edged at the same time. It is a favorite when you want altered tension that still has a clear “upper story” for melody and voicing.

How it’s built

Think functionally as 1-3-5-♭7-♭9-♯11 (fifth often omitted). In C7♭9(♯11), spellings can include C-E-G-B♭-D♭-F♯. The guide tones 3 and ♭7 keep dominant identity; ♭9 and ♯11 reshape the chord’s emotional profile without changing its job in the progression.

Usage

This chord shines in modern jazz, fusion, and cinematic harmony before strong resolutions, especially when the melody can use ♯11 as a stable color against the altered dominant frame. It also works as a “half-step neighborhood” dominant when you want chromatic motion but still want listeners to feel the tonal center.

Examples

• Altered dominants in minor-key cadences with upper extensions in the melody
• Fusion tunes where Lydian dominant lines meet darker harmony