Fm11 is F, Ab, C, Eb, G and Bb. 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 Fmin11, F-11 or F minor 11.
The bassist has the root, and the guide tones imply it anyway. The freed finger adds a tension. Playing solo, keep the root and drop something else.
Modal tunes sit on one chord for bars at a time, and Fm11 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 Fm11 belongs to C minor, Eb major, F minor and Ab major.
Contains Fm11 and adds flat thirteenth.
Contains Fm11 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.