Bm11 is B, D, F#, A, C# and E. It keeps every note of and adds the .
The minor 3rd stays in the chord, so this is not a suspension. It works well when one minor harmony holds for several bars, including modal vamps.
Also written Bmin11, B-11 or B minor 11.
Drop the third voice from the top an octave instead. The wider gap skips a string, so the muted string is part of the shape.
That result, 3–R–5–7, is the shape usually meant by drop 3. Named by its bass note, as the inversions are here, it is the 1st inversion.
More familiar jazz shapes are drop 3 than drop 2.
Modal tunes sit on one chord for bars at a time, and Bm11 is their sound. The harmony stays put, so the voicing moves instead: the whole shape slides a half step and back.
Listen for: Every voice moves together, a half step up and back. The shape never changes.
Heard in“So What” (in a voicing without the ninth)
In which keys. Every note of Bm11 belongs to D major, F# minor, A major and B minor.
Contains Bm11 and adds flat thirteenth.
Contains Bm11 and adds thirteenth.
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.