The B11 bass chord is a dominant 11th chord with the notes B, D#, F#, A, C#, E. On bass it is outlined with the arpeggio B, F#, B, D# — root, 5th, root, 3rd. Whether you are learning it for the first time or checking a voicing, this page has the notes, the bass fingerings, the inversions and alternatives, and the progressions it appears in.
What notes are in the B11 chord?
The B11 chord is a dominant 11th chord, and its notes are fixed: B, D#, F#, A, C#, E. Every voicing on every instrument uses these same notes, in some order and in some octave — change one of them and you are playing a different chord. The table below lists each note with its interval from the root B, so you can see the structure of B11 at a glance. On the bass, B11 is the arpeggio B, F#, B, D# — root, 5th, root, 3rd — and that order is the shape to learn.
| Note | Interval |
|---|---|
| B | Root |
| D# | 3 |
| F# | 5 |
| A | b7 |
| C# | 9 |
| E | 11 |
The root is B, the note the chord is named after and the note your ear hears as home. Above it, the intervals in B11 are 3, 5, b7, 9, 11. That combination is what makes B11 sound the way it does: the intervals decide the colour, and the root decides the pitch. On the bass, the notes appear in the order the fingering dictates, but the set of notes never changes.
B11 sounds complex but smooth, a dominant chord with an extra note that softens its edge. That character comes straight from the intervals above, not from the instrument: the same notes on piano, guitar or ukulele carry the same colour, even though the voicing changes. On the bass, B11 is the arpeggio B, F#, B, D# — root, 5th, root, 3rd — and that order is the shape to learn.
Comparing B11 with its closest relatives helps to fix it in your ear. In short, 11th against 9th: B11 adds the 11th E on top of the 9th C#. In practice the 3rd is often left out of the voicing, because the 11th clashes with it. Practise the two chords back to back and listen to the one note that changes — that single note is the difference between the two chords. On the bass, play B, F#, B, D# and hear how the arpeggio spells out B11 without ever playing it as a block.
How to play B11 on bass
On the bass, B11 is not played as a full chord shape the way it is on guitar or piano. Instead you outline it with an arpeggio: the notes B, F#, B, D#, which are the chord tones of B11 in the order root, 5th, root, 3rd. That pattern is the working shape for this chord on bass, and it tells the listener exactly which chord is sounding, even though you never play all the notes at once.
Practise the arpeggio of B11 by playing B on beat one, F# on beat two, B on beat three and D# on beat four, one note per beat, letting each note ring for its full value. Then play it backwards — D#, B, F#, B — so your fingers learn the shape in both directions. The root B is the anchor: it is the note the rest of the band listens for, so land on it cleanly and on time, and let the 5th F# and the 3rd D# colour the bar without pulling attention away from the root.
Once the straight arpeggio of B11 is comfortable, try playing just the root B and the 5th F# for a whole bar, then add the 3rd D# on the last beat as a passing colour. That root-and-5th skeleton is how most bass lines outline B11 in a real song, and the full arpeggio is the version you use when the arrangement has space for it. Check the notes with the Bass Chord Finder and the Chord Finder, and practise the arpeggio against a slow metronome so the notes land exactly on the beat.
Common mistakes
These are the mistakes that most often make B11 sound wrong on the bass, and each one has a concrete fix. Work through them one at a time rather than trying to fix everything at once.
Using it as a tonic. B11 is a dominant chord. It wants to resolve to the tonic. On the bass, the arpeggio B, F#, B, D# outlines B11 one note at a time.
Playing the arpeggio as a chord. Strumming all the notes of B11 at once on bass sounds muddy and hides the root. Play the arpeggio one note at a time, let each note ring, and keep the root B as the note the listener hears first. On the bass, play B, F#, B, D# and hear how the arpeggio spells out B11 without ever playing it as a block.
Playing the 3rd and 11th together. D# and E clash badly in the same octave. In an 11th chord the 3rd is usually omitted or placed far from the 11th. On the bass, play B, F#, B, D# and hear how the arpeggio spells out B11 without ever playing it as a block.
Crowding six notes. Six notes are too many for most voicings. Drop the 5th and often the 3rd too, keeping root, 7th, 9th and 11th. On the bass, play B, F#, B, D# and hear how the arpeggio spells out B11 without ever playing it as a block.
Where B11 is used
B11 is not a diatonic triad in any major or minor key, because it is an extended or altered chord, but its base triad belongs to the key of E major, the key of F# major, the key of B major. a dominant colour in jazz, where the 11th replaces the 3rd in the voicing to avoid a clash. As a dominant-type chord it also points toward E major, the key a perfect fourth above B, which is the tonic it most often resolves to. That is where B11 does its work: not as a home chord, but as a chord that creates movement and then resolves. On the bass, the arpeggio B, F#, B, D# outlines B11 one note at a time.
Because B11 is an extended or altered chord, it appears in progressions as a colour or a dominant rather than as a diatonic staple. Try it in place of the plain B triad in a progression you already know, and listen to how the extra notes change the feel — that substitution is the usual way extended chords enter real music. The Chord Progression Builder lets you try B11 in a progression in any key and hear how it connects to the chords around it. On the bass, the arpeggio B, F#, B, D# outlines B11 one note at a time.
The same chord on other instruments is covered in B11 on guitar, B11 on piano, B11 on ukulele, and the scales that fit over it are the B major scale and the B minor pentatonic scale. Learning B11 on the bass and then checking it on another instrument is one of the best ways to fix the notes — B, D#, F#, A, C#, E — in your memory, because the notes stay the same while everything else changes.
Practising B11
A short worked example makes B11 concrete. Play the four-chord progression E – B – C#m – A in E major, the key B11 most often resolves toward: E – B – C#m – A. Play each chord for one bar at a slow tempo, and listen to how B11 sounds in that sequence — whether it feels like home, like a lift, or like a chord on its way somewhere else. Then play the same four chords in a different order, starting on B11 itself, and notice how its character changes when it opens the progression instead of sitting inside it. On the bass, play B, F#, B, D# and hear how the arpeggio spells out B11 without ever playing it as a block.
For a second exercise, play B11 and then the chord a fourth above B, back and forth, four times each. That move — a chord and the chord a fourth above it — is the most common resolution in Western music, and it is the move B11 is built for when it acts as a dominant. Finish by playing B11 on its own, slowly, and naming each note out loud as you play it: B, D#, F#, A, C#, E. Naming the notes while you play them is what turns a shape into knowledge you can use in any key. Test yourself with the Practice Chord Quiz and keep time with the Metronome as the tempo rises. On the bass, play B, F#, B, D# and hear how the arpeggio spells out B11 without ever playing it as a block.
Frequently asked questions
Where is B11 used?
B11 is a dominant colour in jazz and fusion, used as a V11 that resolves to the tonic. It suits slow tempos and open voicings where its width can be heard. On the bass, the arpeggio above spells that note out one note at a time.
How do you play B11 on the bass?
Outline it with the arpeggio B, F#, B, D#: root, 5th, root, 3rd. Play one note per beat, with the root B on beat one, and let each note ring. That arpeggio tells the listener exactly which chord is sounding, even though you never play all the notes of B11 at once.
What notes are in the B11 bass arpeggio?
The arpeggio is B, F#, B, D#. It starts on the root B, moves to the 5th F#, returns to the root B and finishes on the 3rd D#. Those four notes are the chord tones of B11, and playing them in that order is the standard way to outline the chord on bass.
Should you play the full B11 chord on bass?
Usually not. On bass the chord is outlined with the arpeggio B, F#, B, D#, not strummed as a block. Playing all the notes at once sounds muddy in the low register and hides the root, which is the note the rest of the band is listening for.
What notes are in B11?
B11 contains B, D#, F#, A, C#, E: root, major 3rd, perfect 5th, flattened 7th, 9th and 11th. In practice the 3rd is often omitted from the voicing, because it clashes with the 11th. On the bass, the arpeggio above spells that note out one note at a time.