The standard grips this chord is usually shown with.
F#mMaj11 is F#, A, C#, E#, G# and B — F#mMaj9 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.

| F# | A | C# | E# | G# | B |
|---|---|---|---|---|---|
| 1 | ♭3 | 5 | 7 | 9 | 11 |
Minor tonic — the melodic minor as far up as a guitar carries it.
Also written F#mM11 or F#m(maj11). The same chord either way; which spelling you meet depends on who wrote the chart.
F#mMaj11 in root position puts F# in the bass, which is the chord as it is spelled: the note it is named after underneath everything else.
5 of F#mMaj11’s 6 common shapes do this: 223224, xx4465, x-9-7-10-9-7, x-9-9-10-10-9, x-9-9-11-11-9.
Start with xx4465 — no barre and low, at the 4th fret. None of the shapes for F#mMaj11 uses an open string, so every one of them is movable; the lowest sits at the 2nd fret. 4 of the 6 need a barre. Together they cover the neck from the 2nd fret to the 11th.
| Frets | Where | Bass | Top | Hand |
|---|---|---|---|---|
| 223224 | 2nd fret | F#, root position | G# | barred |
| xx4465 | 4th fret | F#, root position | A | all fretted |
| x44465 | 4th fret | C#, 2nd inversion | A | barred |
| x-9-7-10-9-7 | 7th fret | F#, root position | B | all fretted |
| x-9-9-10-10-9 | 9th fret | F#, root position | C# | barred |
| x-9-9-11-11-9 | 9th fret | F#, root position | C# | barred |
The same notes rebuilt from scratch give 6 shell, 14 drop 2, 9 drop 3, 24 rootless and 1 open string voicings, each on its own page.
Tensions. A shell of F#mMaj11, root, third and seventh, leaves a string free, and the tones that belong over it are the 13 (D#).
How you get to it. The turn that lands on F#mMaj11 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.
Every note of F#mMaj11 is in F# harmonic minor and F# melodic minor.
Change one note of F#mMaj11 and you have F#maj11 (the minor third becomes a major third), F#m11 (the major seventh becomes a flat seventh) or F#mMaj9 (drop the fourth).
F#mMaj11 is a minor chord — root, minor third, fifth. Minor chords on every root.
On F#mMaj11’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.
Shows each chord the way this style would voice it, and marks which of its alternatives belong to the idiom.