A practical way to hear F11 is as held over the original root. The upper shape supplies the flat seventh, ninth, and : F, C, Eb, G and Bb.
Because that upper shape omits the dominant’s major third, the chord remains suspended. This bass-plus-shape sound is used mainly as V.
Also written F9sus4 or F dominant 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.
F11 has the notes of the ii over the V’s root, so it can take the ii’s bar: F11, then F9, then Bb. The eleventh gives way to the third, and the V resolves as usual.
Listen for: The eleventh falls a half step to the third, then rises a half step into the root of the I.
In which keys. Every note of F11 belongs to C minor, Eb major, F minor, G minor, Ab major and Bb major.
Contains F11 and adds major third and thirteenth.
Contains F11 and adds minor third and flat thirteenth.
Contains F11 and adds minor third and 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.