Now it's time to look at the "D Shape", and connect the dots between the three shape we've been looking at.
This is the "D Shape" at the 7th position. Again, this position was chosen to keep the actual root note the same so that the three shapes can be interlocked. Some may refer to the first shape we looked at as the "Blues Box," and if that is the case, this is the "B.B. Box," named after B.B. King (who loves that position). I have grown to love all three shapes, and the different tonal opportunities that each offers.
As the B.B. Box is really just an extension of the Blues Box, the "D Shape" is really just an extension of the "E Shape". You can transition quickly from one to the other because they are so close, and eventually all three shapes will blend into one long fretboard of opportunity to express yourself over a given chord. I included the notes of the minor scale on the lower strings for this position, although they really don't need to be focused on at first. Those notes are available in other positions, where they are more easily visualized. Later, you can fill in those "gaps".
In the sequence below, I demonstrate some melodic ideas created using the "D Shape", and then I show some ways in which to transition between "D shape" and "E shape".