F#m11 guitar chord
The third voice from the top lowered an octave. The dropped voice becomes the bass, which is why a string is skipped.
- Tap a note to hear it
- Arrows change position
- Fingers, notes or intervals
- Play the chord
About F#m11 — drop 3 voicings
F#m11 is F#, A, C#, E, G# and B — F#m9 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.
F#m11 notes and formula
| F# | A | C# | E | G# | B |
|---|---|---|---|---|---|
| 1 | ♭3 | 5 | ♭7 | 9 | 11 |
Pre-dominant or minor tonic — it hangs rather than moves.
Also written F#min11, F#-11 or F# minor 11. The same chord either way; which spelling you meet depends on who wrote the chart.
How to play F#m11
The same operation one voice further down: the third voice from the top falls an octave and becomes the bass.
That leaves a bigger hole under the top three notes, so a string gets skipped: the muted string in the middle is the shape, not a mistake.
F#m11 has 9 of them, on strings 5-3-2-1 and strings 6-4-3-2, from the 2nd fret up to the 12th — every inversion the chord has: F# in the bass, A in the bass, E in the bass and B in the bass. The one to learn first is the B shape at the 2nd fret.
5 of them sit on strings 6-4-3-2, 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 202100 — no barre and 3 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 14th.
| Frets | Where | Bass | Top | Hand |
|---|---|---|---|---|
| 202100 | open position | F#, root position | E | 3 open strings |
| 222224 | 2nd fret | F#, root position | G# | barred |
| xx4455 | 4th fret | F#, root position | A | all fretted |
| x97977 | 7th fret | F#, root position | B | barred |
| x97997 | 7th fret | F#, root position | B | barred |
| x-9-9-9-10-9 | 9th fret | F#, root position | C# | barred |
| 14-12-14-13-12-12 | 12th fret | F#, root position | E | barred |
| 14-x-14-14-12-x | 12th fret | F#, root position | B | barred |
The same notes rebuilt from scratch give 8 shell, 14 drop 2, 24 rootless and 6 open string voicings, each on its own page.
Tensions. A shell of F#m11, root, third and seventh, leaves a string free, and the tones that belong over it are the 13 (D#).
How to use F#m11
How you get to it. The turn that lands on F#m11 is G#m7♭5 to C#7♭9: the ii and the V of F# minor, which is where a minor tonic is usually arrived at rather than simply begun on.
In which keys. Every note of F#m11 belongs to C# minor (the iv, the subdominant), E major (the ii, the supertonic), F# minor (the i, the tonic) and A major (the vi, the submediant).
What to play over F#m11
Every note of F#m11 is in F# dorian and F# natural minor.
Chords near F#m11
Change one note of F#m11 and you have F#m9 (drop the fourth), F#mMaj11 (the flat seventh becomes a major seventh) or F#11 (drop the minor third).
F#m11 is a minor chord — root, minor third, fifth. Minor chords on every root.
On F#m11’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.