G♭m11 — G♭ minor eleventh chord
A minor ninth chord with the eleventh added. Unlike the dominant eleventh there is no clash, because the eleventh lies a whole tone above the minor third.
- 1 = G♭
- 9 = A♭
- b3 = B♭♭
- 11 = C♭
- 5 = D♭
- b7 = F♭
- Symbol
- Gbm11
- Root
- Gb
- Quality
- Minor eleventh
- Family
- extended
- Notes
- Gb Ab Bbb Cb Db Fb
- Degree formula
1 9 b3 11 5 b7- Semitones from the root
0 2 3 5 7 10- Distinct pitch classes
- 6
- Interval structure
- Stacked from the root: 2 semitones, 1 semitones, 2 semitones, 2 semitones, 3 semitones
- Notation
- Written m11. Frequently voiced with the root, the seventh, the ninth and the eleventh, leaving the fifth out.
- Key
- Gb · Gb major / Eb minor key signature
Fingering charts
The library holds 6 fingerings of this chord and all of them are shown, in the library’s own order. Several fingerings of one chord is normal: the same notes can be stopped at different positions and on different strings.
Formula
The chord tones in order from the root, with the interval each one forms above it.
| Degree | Note | Semitones | Interval from the root |
|---|---|---|---|
| 1 | G♭ | 0 | Perfect unison |
| 9 | A♭ | 2 | Major second |
| b3 | B♭♭ | 3 | Minor third |
| 11 | C♭ | 5 | Perfect fourth |
| 5 | D♭ | 7 | Perfect fifth |
| b7 | F♭ | 10 | Minor seventh |
Inversions
An inversion is the same set of notes with a different one in the bass. The last column gives the distance of each note above the bass note, in semitones.
| Inversion | Bass note | Degree in the bass | Notes above the bass | Semitones above the bass |
|---|---|---|---|---|
| root position | G♭ | 1 | G♭ – A♭ – B♭♭ – C♭ – D♭ – F♭ | 0 2 3 5 7 10 |
| first inversion | A♭ | 9 | A♭ – B♭♭ – C♭ – D♭ – F♭ – G♭ | 0 1 3 5 8 10 |
| second inversion | B♭♭ | b3 | B♭♭ – C♭ – D♭ – F♭ – G♭ – A♭ | 0 2 4 7 9 11 |
| third inversion | C♭ | 11 | C♭ – D♭ – F♭ – G♭ – A♭ – B♭♭ | 0 2 5 7 9 10 |
| fourth inversion | D♭ | 5 | D♭ – F♭ – G♭ – A♭ – B♭♭ – C♭ | 0 3 5 7 8 10 |
| fifth inversion | F♭ | b7 | F♭ – G♭ – A♭ – B♭♭ – C♭ – D♭ | 0 2 4 5 7 9 |
Playable voicings
These shapes were found by searching the fretboard of a standard-tuned guitar (E A D G B E) rather than copied from a chord book. The search allows every string to sound or to be muted, rejects any shape with a muted string between two sounding strings, rejects any shape whose fretted notes span more than four frets (a five-fret window), requires every chord tone to be present, and then sorts what remains with root-position shapes first and the most compact, lowest shapes next. The shapes shown are the first six of that ordering; other orderings are possible at the same frets.
| # | Shape (low string first) | Notes | Degrees | Bass | Span (frets) | Sounding strings |
|---|---|---|---|---|---|---|
| 1 | 2-2-2-2-2-4 | Gb B E A Db Ab | 1 11 b7 b3 5 9 | Gb | 2 | 6 |
| 2 | 14-11-11-14-12-12 | Gb Ab Db A B E | 1 9 5 b3 11 b7 | Gb | 3 | 6 |
| 3 | 14-12-11-13-12-12 | Gb A Db Ab B E | 1 b3 5 9 11 b7 | Gb | 3 | 6 |
| 4 | 2-0-2-4-2-4 | Gb A E B Db Ab | 1 b3 b7 11 5 9 | Gb | 4 | 6 |
| 5 | 2-4-2-2-0-4 | Gb Db E A B Ab | 1 5 b7 b3 11 9 | Gb | 4 | 6 |
| 6 | 2-2-2-1-2-5 | Gb B E Ab Db A | 1 11 b7 9 5 b3 | Gb | 4 | 6 |
Shape numbers run from the lowest string to the highest, so the left-hand number is the sixth string (low E) in standard tuning. Multiple shapes are listed because a chord can be voiced several ways, and because a lower position is not always the better sounding one.
Related chords and scales
- KeyEverything in Gb
- ScaleGb dorian
- ChordGb9
- ChordGb7
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