Root, third and seventh: the guide tones fix the quality, so the fifth is dropped. That is what leaves a string free, so pick a tension to put on top.
Am11 is A, C, E, G, B and D — Am9 with the eleventh added on top.
It sounds spacious and slightly unresolved. The eleventh is a whole step above the minor third, so unlike its major counterpart it fits without a fight.

| A | C | E | G | B | D |
|---|---|---|---|---|---|
| 1 | ♭3 | 5 | ♭7 | 9 | 11 |
Pre-dominant or minor tonic — it hangs rather than moves.
Also written Amin11, A-11 or A minor 11. The same chord either way; which spelling you meet depends on who wrote the chart.
Root, third and seventh. The third and seventh, the guide tones, are what make the chord major, minor or dominant, so the fifth can go: it says nothing the symbol needs.
Three notes means a spare string, which is the real point. Put a tension on it.
Am11 has 7 of them, on the middle four strings, strings 6-4-3-2, the bottom four strings, strings 5-3-2-1 and the top four strings, from the 3rd fret up to the 10th — all in one inversion, so the bass note never moves. The one to learn first is the A shape at the 3rd fret, which is the easiest grip here.
Start with x00010 — no barre and 4 open strings. 1 of the 8 shapes here sits in open position. 6 of the 8 need a barre. Together they cover the neck from the 1st fret to the 13th.
| Frets | Where | Bass | Top | Hand |
|---|---|---|---|---|
| x00010 | open position | A, root position | E | 4 open strings |
| 535433 | 3rd fret | A, root position | G | barred |
| 5x553x | 3rd fret | A, root position | D | barred |
| 555557 | 5th fret | A, root position | B | barred |
| xx7788 | 7th fret | A, root position | C | all fretted |
| x-12-10-12-10-10 | 10th fret | A, root position | D | barred |
| x-12-10-12-12-10 | 10th fret | A, root position | D | barred |
| x-12-12-12-13-12 | 12th fret | A, root position | E | barred |
The same notes rebuilt from scratch give 15 drop 2, 10 drop 3, 25 rootless and 6 open string voicings, each on its own page.
Tensions. A shell of Am11, root, third and seventh, leaves a string free, and the tones that belong over it are the 13 (F#).
How you get to it. The turn that lands on Am11 is Bm7♭5 to E7♭9: the ii and the V of A minor, which is where a minor tonic is usually arrived at rather than simply begun on.
In which keys. Every note of Am11 belongs to C major (the vi, the submediant), E minor (the iv, the subdominant), G major (the ii, the supertonic) and A minor (the i, the tonic).
Every note of Am11 is in A dorian and A natural minor.
Change one note of Am11 and you have Am9 (drop the fourth), AmMaj11 (the flat seventh becomes a major seventh) or A11 (drop the minor third).
Am11 is a minor chord — root, minor third, fifth. Minor chords on every root.
On Am11’s sound and use this page follows Mark Levine, The Jazz Theory Book (Sher Music, 1995). The shapes and the derived voicings come from different places, and both are explained in where the chords and the theory come from.
Shows each chord the way this style would voice it, and marks which of its alternatives belong to the idiom.