B m(maj11) on Bass (6-String)
Root first, then the colors: every B m(maj11) tone placed on the BEADGC neck, ready to walk.
B m(maj11) spells B – C# – D – E – F# – A#. A bassline treats those notes as a hierarchy — root first for gravity, fifth for stability, then the third and any extensions for color — and the shapes below put each of them under your fingers on the Bass (6-String)'s BEADGC strings.
Full chords are optional equipment on bass: down low, stacked thirds turn to mud, so the grips that work keep two or three notes — root-fifth, root-tenth, shell voicings — and the arpeggio is how the rest of the chord becomes a line. The 6-string layout adds a low B and a high C to the standard EADG core, so the same shapes reach further without shifting.
Start from the root, play the arpeggio until the sound of B m(maj11) is in your ears, then loop it against the progressions in B so the tones become choices instead of charts.