- Major, minor & dominant 7th chords chromatically up the neck in all inversions
- Same, starting every subsequent inversion on a new string to force “intervalic thinking” over “patternistic thinking”
- Applying inversion against jazz standard (1st, 2nd, 3rd, and 1st descending)
Although it is always a hassle, it’s actually super helpful to spell out loud the notes you play (especially not looking at the fretboard). It might slow you down, but in fact, it really helps to break out of patternistic approach where you think shape first. Also, starting each inversion on a new string helps to focus more on intervals that make up the chord (instead of notes), so you could see many ways of playing it on the fretboard. E. g. Gmaj7: G — B — D — F#, then starting on A string: B — D — F# — G, then on D string (starting on open): D — F# — G — B, and on G string: F# — G — B — D. It feels a little uncommon, but you really start thinking about 3rds and seconds that make up the chord instead of trying to get the spelling right and not mess it up (which happens very often especially in the keys with a lot of accidentals).