Thirds are a lot more useful as double stops than seconds, and obviously they’re key building blocks of most chords. Luckily, no stretching or string skipping is required to grab major or minor thirds across the neck. They work nicely hammered on to/from fourths or from major seconds as well.
This may be the least useful individual diagram I ever post, but for the sake of completeness, I am starting my run through of intervals with major/minor 2nds. I worked through Truefire’s Interval Insights course, and I now feel even more confident that knowing where to grab all of the intervals on the neck is a worthwhile skill to have. I can’t demonstrate how to use them in context here, as Rich does, but it should be pretty simple to lay out the locations of each set to refer to for your own experiments.
Seconds are neither particularly consonant nor comfortable to grab. I kept stretches to a three fret minimum in this diagram, as going out of your way to grab either of these doesn’t seem necessary.
Diving back to triads in all positions. I don’t naturally grab these triads up the neck, but now is as good a time as any to start.
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.