The Bm11 mandolin chord is built from the notes B, D, F#, A, C#, E. Its first mandolin voicing is the movable voicing: G string at fret 4 (index finger); D string open; A string open; E string open. It is a minor 11th chord, and this page gives you its exact notes, the fingerings that work on the mandolin, the mistakes to avoid and the progressions it appears in.
What notes are in the Bm11 chord?
The Bm11 chord is a minor 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 Bm11 at a glance. On the mandolin, the movable voicing of Bm11 puts those notes under your fingers in the order the fingering lists them.
| Note | Interval |
|---|---|
| B | Root |
| D | b3 |
| 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 Bm11 are b3, 5, b7, 9, 11. Once you know the intervals, you can build Bm11 from any root by counting the same semitone steps, which is how the chord works in every key. On the mandolin, the notes appear in the order the fingering dictates, but the set of notes never changes.
Bm11 sounds soft and open, a minor chord with the 9th and 11th adding width without tension. Listen for that character when you play it — if Bm11 does not sound that way, one of the notes is probably wrong, and the table above is the place to check. On the mandolin, the movable voicing of Bm11 puts those notes under your fingers in the order the fingering lists them.
Comparing Bm11 with its closest relatives helps to fix it in your ear. In short, minor 11th against minor 9th: Bm11 adds the 11th E to the minor 9th chord. The extra note widens the sound without changing the function. Play both chords slowly, one after the other, and notice which note moves. Naming that note out loud while you play is the fastest way to learn the difference. On the mandolin, start with the first voicing above and listen for the notes B, D, F#, A, C#, E in Bm11.
How to play Bm11 on mandolin
On the mandolin, Bm11 has 3 voicings in the data below, and each one uses the same notes — B, D, F#, A, C#, E — in a different place on the neck. The first voicing below is the one to learn first, and the alternatives cover the rest of the neck. Finger numbers below use 1 for the index finger, 2 for the middle finger, 3 for the ring finger and 4 for the little finger, and x means the string is not played.
Another way to play Bm11 is the movable voicing, in around fret 4: G string at fret 4 (index finger); D string open; A string open; E string open. This voicing is comfortable because the fretted notes sit close together, from fret 4 to fret 4, so your hand stays relaxed and every note can ring. Strum or pluck it slowly first and check that every note in Bm11 — B, D, F#, A, C#, E — sounds, with no buzz and no accidental open string.
The barre chord is the voicing to learn if you want Bm11 in around fret 7: G string at fret 7 (index finger); D string at fret 7 (index finger); A string at fret 7 (index finger); E string at fret 7 (index finger). It barres across strings 1 to 4 at fret 7 with the index finger. The barre is the hard part: the index finger must press every string from 1 to 4 evenly at fret 7, so roll it slightly onto its bony side and keep it close to the fret wire. If the barre buzzes, move it a fraction closer to the fret and press from the arm, not the thumb alone. Strum or pluck it slowly first and check that every note in Bm11 — B, D, F#, A, C#, E — sounds, with no buzz and no accidental open string.
The movable voicing puts Bm11 in around fret 2: G string at fret 4 (middle finger); D string at fret 2 (index finger); A string at fret 5 (ring finger); E string at fret 5 (ring finger). The stretch is the challenge: the fretted notes span from fret 2 to fret 5, so keep your thumb low behind the neck and let your fingers reach rather than squeezing the neck. Strum or pluck it slowly first and check that every note in Bm11 — B, D, F#, A, C#, E — sounds, with no buzz and no accidental open string.
Choosing between the voicings of Bm11 is a musical decision, not a right-or-wrong one. The open or low-position voicing rings the most and suits strumming, while a barre or movable voicing lets you slide Bm11 up the neck to any key without changing the shape. When you change chords, pick the voicing of Bm11 that sits closest to the chord before it — shorter moves between shapes mean faster, cleaner changes. Practise the change into Bm11 from the chord that comes before it in your song, not the chord on its own, because the move is the skill. On the mandolin, the movable voicing of Bm11 puts those notes under your fingers in the order the fingering lists them.
A short practice routine for Bm11 on the mandolin: play the first voicing four times slowly, checking each note, then change to it from the chord a fourth above B and back, four times, at a slow tempo. Then play the second voicing the same way. If a note buzzes, stop and fix the finger placement rather than playing through the buzz — clean notes at a slow tempo become clean notes at full tempo, while buzzes practised fast become habits. Use the Mandolin Chord Finder to see the diagram for Bm11 while you practise, and the Chord Finder to compare it with the same chord on other instruments.
Common mistakes
These are the mistakes that most often make Bm11 sound wrong on the mandolin, and each one has a concrete fix. Work through them one at a time rather than trying to fix everything at once.
Missing one string of a course. Mandolin strings come in pairs, and Bm11 needs both strings of each course to sound. If one string of a pair is muted by a neighbouring finger, the chord sounds thin. Check each course separately by plucking it on its own. On the mandolin, start with the first voicing above and listen for the notes B, D, F#, A, C#, E in Bm11.
Playing the major 3rd. The 3rd must stay minor (D). A major 3rd turns this into a dominant 11th. On the mandolin, start with the first voicing above and listen for the notes B, D, F#, A, C#, E in Bm11.
Crowding the voicing. Six notes need space. Drop the 5th (F#) first and spread the rest across octaves. On the mandolin, the movable voicing voicing is the place to hear it in Bm11.
Losing the 11th. Without E this is just a minor 9th chord. The 11th is the note that makes it an 11th. On the mandolin, the movable voicing of Bm11 puts those notes under your fingers in the order the fingering lists them.
Where Bm11 is used
Bm11 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 D major, the key of G major, the key of A major. the ii chord in major keys, in its fullest form. 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 Bm11 does its work: not as a home chord, but as a chord that creates movement and then resolves. On the mandolin, start with the first voicing above and listen for the notes B, D, F#, A, C#, E in Bm11.
Because Bm11 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 Bm11 in a progression in any key and hear how it connects to the chords around it. On the mandolin, the movable voicing of Bm11 puts those notes under your fingers in the order the fingering lists them.
The same chord on other instruments is covered in Bm11 on guitar, Bm11 on piano, Bm11 on ukulele, and the scales that fit over it are the B major scale and the B minor pentatonic scale. Learning Bm11 on the mandolin 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 Bm11
A short worked example makes Bm11 concrete. Play the four-chord progression E – B – C#m – A in E major, the key Bm11 most often resolves toward: E – B – C#m – A. Play each chord for one bar at a slow tempo, and listen to how Bm11 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 Bm11 itself, and notice how its character changes when it opens the progression instead of sitting inside it. On the mandolin, the movable voicing of Bm11 puts those notes under your fingers in the order the fingering lists them.
For a second exercise, play Bm11 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 Bm11 is built for when it acts as a dominant. Finish by playing Bm11 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 mandolin, start with the first voicing above and listen for the notes B, D, F#, A, C#, E in Bm11.
Frequently asked questions
What notes are in Bm11?
Bm11 contains B, D, F#, A, C#, E: root, minor 3rd, perfect 5th, flattened 7th, 9th and 11th. In practice the 5th is often omitted to make room for the extensions. On the mandolin, the first voicing above shows where that note sits.
Is Bm11 major or minor?
Minor. Its 3rd is D, and the flattened 7th A keeps it mellow. The 9th and 11th add width, not brightness. On the mandolin, the first voicing above shows where that note sits.
Where is Bm11 used?
Bm11 is a minor tonic in jazz, neo-soul and R&B, and a ii chord in major keys. It suits slow tempos and open voicings. On the mandolin, the first voicing above shows where that note sits.
How do you play Bm11 on the mandolin?
The first voicing is the movable voicing: frets 4–0–0–0, fingers 1–0–0–0, on the mandolin. That voicing uses the notes B, D, F#, A, C#, E, and it is the one to learn first. The page above lists more voicings for Bm11, so you can choose the shape nearest the chords around it.
Is Bm11 hard to play on the mandolin?
It depends on the voicing. The first voicing of Bm11 on the mandolin is the easiest starting point, and the movable voicings further up the neck are harder because they need a barre or a wider stretch. Practise the first voicing cleanly at a slow tempo before you try the others, and the harder shapes will come more easily.