The standard grips this chord is usually shown with.
C#mMaj11 is C#, E, G#, B#, D# and F# — C#mMaj9 with the eleventh added on top.
It sounds dense and unresolved. The melodic minor tonic with most of the scale showing — more a texture than a chord to comp on.
Minor tonic — the melodic minor as far up as a guitar carries it.

| C# | E | G# | B# | D# | F# |
|---|---|---|---|---|---|
| 1 | ♭3 | 5 | 7 | 9 | 11 |
Also written C#mM11 or C#m(maj11). The same chord either way; which spelling you meet depends on who wrote the chart.
C#mMaj11 in 2nd inversion puts G# in the bass instead of C#, the 5th of the chord. The notes are the same; what changes is what the bass line does, which is most of why you would reach for it — it lets the lowest voice move by step where the root would have jumped.
One of C#mMaj11’s 6 common shapes does this:x-11-11-11-13-12
Play C#mMaj11 as a shell — root, third and seventh — and the spare string takes the 13 (A#).
All 6 common shapes as fret numbers, lowest string first. Hover or tap one to see it drawn.
How you get to it. The turn that lands on C#mMaj11 is D#m7♭5 to G#7♭9: the ii and the V of C# minor, which is where a minor tonic is usually arrived at rather than simply begun on.
Every note of C#mMaj11 is in C# harmonic minor and C# melodic minor.
Change one note of C#mMaj11 and you have C#maj11 (the minor third becomes the major third), C#m11 (the major seventh becomes the flat seventh) or C#mMaj9 (drop the eleventh).
C#mMaj11 is a minor chord — root, minor third, fifth. Minor chords on every root.
The common shapes and the derived voicings come from different places, and both are explained in how this site is built.
Shows each chord the way this style would voice it, and marks which of its alternatives belong to the idiom.