On to strings 2/3/4. No shortage of options here either. For the rootless versions, it’s easiest helpful to think about placing the minor 7th position relative to the target root.
Dominant triads can be put together by dropping the root or the fifth, assuming you have a root from a bassline or keyboard. I don’t use a ton of dominant chords, but I think its another tool I personally need to beef up. Here’s the top three strings:
After listening to a good amount of Holdsworth (and watching this insane video: https://www.youtube.com/watch?v=wts2Mw6Nb5s&t=54s), I’ve realized I need to expand beyond just straight major/minor modes. Here’s an exploration of Melodic Minor in its first position. There are two natural ways to view it in this position, and I don’t have a strong view as to which feels more natural, if either.
This particular shape of the minor 7 is one of my favorites. It’s easily movable and removes the extra 5th from the typical barre chord, which leaves more space for the rest of a track without sacrificing complexity.
Here’s the second set of Major Key triads (in B this time) starting off the second inversion of the I chord (second string root). These have a nice flow and the I and IV shapes here should probably be old hat even if just as part of familiar bar chords.
This is the first of an exploration into mapping out all triads in a key in close proximity. There’s no shortage of locations to work from, but this is the starting point I grab most frequently. Also included are characteristic notes for the associated modes to help add color highlighting where you are in the key. All labels are relative to the key center.
On to the top three strings. I’ve personally never spent enough time on the shapes on these strings, so this is a useful learning exercise, and hopefully sharing these proves helpful more broadly. I’ve certainly never noticed that barring the top three strings gives you a major sixth or that you have a useful, easy sus2 in most pentatonic boxes.