BmMaj11 guitar chord
An open string left ringing against a fretted grip. Because it costs no finger, it sounds a note the closed shape has none left for -- a tension on top, or a pedal root underneath. Either a familiar grip with open strings added, or a shape so sparse the open strings carry the chord. These belong to their key rather than to a shape, so D, A, G and E have many and Eb a handful.
- Tap a note to hear it
- Arrows change position
- Fingers, notes or intervals
- Play the chord
About BmMaj11 — open string voicings
BmMaj11 is B, D, F#, A#, C# and E — BmMaj9 with the eleventh added on top.
It sounds dense and unresolved. Something is always omitted; the ♭3 and the natural 7 are what must not be.
BmMaj11 notes and formula
| B | D | F# | A# | C# | E |
|---|---|---|---|---|---|
| 1 | ♭3 | 5 | 7 | 9 | 11 |
Minor tonic — the melodic minor as far up as a guitar carries it.
Also written BmM11 or Bm(maj11). The same chord either way; which spelling you meet depends on who wrote the chart.
How to play BmMaj11
An open string left ringing against a fretted grip. It costs no finger, so it can sound a note the closed shape has none left for: a tension on top, or a pedal root underneath.
These belong to their key rather than to a shape: they cannot be moved up the neck. D, A, G and E have many; E♭ has a handful.
BmMaj11 has 6 of them, on strings 6-5-4-3-2, strings 6-4-3-2-1, strings 5-4-3-2-1 and the bottom four strings, from the 2nd fret up to the 6th — every inversion the chord has: B in the bass, F# in the bass, A# in the bass and E in the bass. The one to learn first is the B shape at the 2nd fret, which is the easiest grip here.
3 of them sit on strings 6-4-3-2-1, so you can run the inversions up one set without changing strings — which is the whole reason to learn them as a family rather than as separate grips.
Start with x20320 — no barre and 2 open strings. 1 of the 8 shapes here sits in open position. 5 of the 8 need a barre. Together they cover the neck from the 2nd fret to the 15th.
| Frets | Where | Bass | Top | Hand |
|---|---|---|---|---|
| x20320 | open position | B, root position | E | 2 open strings |
| x22332 | 2nd fret | B, root position | F# | barred |
| x22442 | 2nd fret | B, root position | F# | barred |
| 778779 | 7th fret | B, root position | C# | barred |
| x-x-9-9-11-10 | 9th fret | B, root position | D | all fretted |
| x-9-9-9-11-10 | 9th fret | F#, 2nd inversion | D | barred |
| x-14-12-15-14-12 | 12th fret | B, root position | E | all fretted |
| x-14-14-15-15-14 | 14th fret | B, root position | F# | barred |
The same notes rebuilt from scratch give 7 shell, 15 drop 2, 10 drop 3 and 24 rootless voicings, each on its own page.
Tensions. A shell of BmMaj11, root, third and seventh, leaves a string free, and the tones that belong over it are the 13 (G#).
How to use BmMaj11
How you get to it. The turn that lands on BmMaj11 is C#m7♭5 to F#7♭9: the ii and the V of B minor, which is where a minor tonic is usually arrived at rather than simply begun on.
What to play over BmMaj11
Every note of BmMaj11 is in B harmonic minor and B melodic minor.
Chords near BmMaj11
Change one note of BmMaj11 and you have Bmaj11 (the minor third becomes a major third), Bm11 (the major seventh becomes a flat seventh) or BmMaj9 (drop the fourth).
BmMaj11 is a minor chord — root, minor third, fifth. Minor chords on every root.
On BmMaj11’s sound and use this page follows Ted Pease & Ken Pullig, Modern Jazz Voicings (Berklee Press, 2001). The shapes and the derived voicings come from different places, and both are explained in where the chords and the theory come from.