Stop Thinking Static Chords: Use Sliding Intervals for Upper Structures

What was the question?

David asked for clarification regarding the interval markings (Major vs. Minor 3rds) when building upper structures from guide tones. He specifically wanted to know if he should view these intervals as static shapes or if physical techniques like sliding and hammering on were the intended approach.
(00:57)

The core idea (in plain English)

While understanding the theory of intervals (Major 3rd vs. Minor 3rd) is necessary, the practical application on the guitar relies on movement. Instead of thinking of an upper structure as a frozen block of notes, view it as a motion—specifically, sliding intervals up the neck. This makes the concept portable and helps you traverse the fretboard diagonally rather than getting stuck in one position.
(07:50)

Fretboard breakdown (what to play)

To apply this, focus on the physical sensation of the interval sets:

  • Identify the Guide Tones: Start with the 3rd and 7th of the chord (e.g., D Minor 7). (03:21)

  • Slide the Intervals: Instead of grabbing a chord shape, play the guide tones and then slide up to the next interval pair (the upper structure).

  • Mix Motions: You can slide on the same strings, or slide once and then cross a string. Creating a combination of slides and string crossings mimics the smooth sound of a "Wes Line." (09:08)

Common mistake to avoid

A common mistake is trying to memorize every interval set as a static chord shape (like a Drop 2 voicing) without connecting them. If you only see the vertical chord, you lose the horizontal flow. Focus on the connection between the positions.
(07:50)

A 10-minute practice assignment

Take a simple D Minor 7 chord. Play the guide tones (F and C). From there, slide up the neck to hit the next major or minor third interval that fits the key. Do this without changing strings first, then try it with one string cross. Repeat this for 10 minutes to build the muscle memory of "sliding into" the harmony.
(09:21)

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Wes Montgomery’s Secret to High-Register Arpeggios

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Beyond Theory: Target Notes and Visualizing Sound Colo