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Symmetry Of The 3rd, Flat7th Interval

Jim Heidinger (8553) · [archive]
Style: Theory/Reference · Level: Beginner · Tempo: 120
Pages: 1

The following is a very simple yet powerful approach to unlocking the symmetry of the fretboard. Arguably the most important chord tones in a dominant 7th chord are the 3rd and the b7. So coming up with a comprehensive way to map these intervals on the fretboard in a systematic way can lead to all sorts of voicing opportunities.

Here is the first map using a root 6 position chord meaning a chord whose root would appear on the sixth string. Please note that the same positional sequence is identical for a chord whose root is on the fifth string however the interval is inverted from the ones identified whose root is on the sixth string.

Ascending Intervals

Note that the intervals trade inversions as you go up. [6 5] stringset has the intervals b7 3, [5 4] stringset has the intervals 3 b7 and so on. Each inversion is shaped like the other except for the B string where tuning to a third requires a raising of the position to achieve the same result as a string that is tuned to a fourth.