Root-Focused Mapping: Interval Shapes You Can Move Anywhere

What “Root-Focused Mapping” Means

Root-focused mapping is a shape-based way to navigate the bass fretboard: you pick a root note (R), then you memorize where common intervals sit relative to that root. Because the distances (frets/strings) stay the same, you can move the whole shape to any root and instantly find the notes you need for chords and bass lines.

Think of it like a movable “interval map” you carry with you. When a song says “A minor” or “D7,” you don’t hunt for every note from scratch—you drop your root on the correct fret and grab the 3rd, 5th, 7th, etc., from the same familiar locations.

How to Read the Text Diagrams

Each diagram shows a small “box” around a root. The root is marked R. Other notes are labeled by interval number (like 2, 4) or with flats where common (like b3, b7). The diagrams assume standard tuning (E–A–D–G), but the important part is the relative placement, not the note names.

• Same string movement = left/right (frets).
• Adjacent string movement = up/down (strings), usually with a fret adjustment.
• These are common locations used constantly in bass lines; there are other places to find the same intervals, but these are the “go-to” ones for a movable map.

Interval Map with the Root on the E String

Place your root on the E string. The most used nearby intervals tend to appear on the A and D strings (and sometimes on the same string). Here is a practical map around the root:

Root on E string (E-string root = R)  [common nearby positions]

Quick “shape” takeaways (Root on E)

• 5th is very often: A string, +2 frets from the root.
• Octave is very often: A string, +7 frets from the root (same string+string shift shape).
• 3rd / b3 are very often: E string, +4 for major 3rd, +3 for minor 3rd.
• b7 / 7 are very often: A string, +5 for b7, +6 for 7.

Interval Map with the Root on the A String

Now place your root on the A string. This is extremely common in bass playing because it keeps many chord tones under your fingers across A, D, and G strings.

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Root on A string (A-string root = R)  [common nearby positions]

Quick “shape” takeaways (Root on A)

• 5th is very often: D string, +2 frets from the root.
• Octave is very often: D string, +7 frets from the root.
• b7 / 7 are very often: D string, +5 for b7, +6 for 7.
• Major vs minor is still easiest to feel on the same string: +4 (3) vs +3 (b3).

Step-by-Step: Build Your Movable Map Around Any Root

Step 1: Choose a root and “lock in” the 5th and octave

Pick any root note on the E or A string. Before thinking about scales, immediately find:

• R (your starting note)
• 5 (the strongest supporting tone)
• octave (the “same note higher” anchor)

This gives you a stable frame for bass lines and power-chord style movement.

Step 2: Add the 3rd (major or minor) to define the chord quality

Once you can grab the 5th and octave, add the 3rd:

• Major sound: use 3 (often +4 frets on the same string as R).
• Minor sound: use b3 (often +3 frets on the same string as R).

This is the key “switch” that changes the emotional color while keeping the same root.

Step 3: Add 2, 4, b5/5, b7/7 as common color/functional tones

• 2: a common passing tone (often +2 frets on the same string as R).
• 4: often sits on the next string up at the same fret (from R on E to A, or from R on A to D).
• b5/5: b5 is often +6 frets on the same string; 5 is +7 frets on the same string, or the common “next string +2 frets” shape.
• b7/7: often on the next string up at +5 (b7) or +6 (7) frets from the root.

Practice Patterns (Movable): Train the Shapes, Not the Key

Use a metronome and keep the rhythm simple (quarter notes). Choose one root and repeat each pattern until it feels automatic, then move the entire shape to a new root without changing fingering logic.

Pattern 1: R–5–octave (foundation)

Goal: lock in the strongest “skeleton” tones.

• Choose a root on E or A string.
• Play R, then find 5 using the common shape (next string up, +2 frets).
• Then find the octave (same next-string shape further up, commonly +7 frets from R on that next string).

Example rhythm: | R  -  5  -  8  -  5  - | repeat

Pattern 2: R–3–5 (major triad feel)

Goal: hear and feel the major quality.

• Play R.
• Find 3 (commonly +4 frets on the same string as R).
• Find 5 (either +7 frets same string, or next string up +2 frets).

Example rhythm: | R  -  3  -  5  -  3  - | repeat

Pattern 3: R–b3–5 (minor triad feel)

Goal: compare directly with Pattern 2 and feel the difference.

• Play R.
• Find b3 (commonly +3 frets on the same string as R).
• Find 5 (same options as above).

Example rhythm: | R  -  b3 -  5  -  b3 - | repeat

Mini-drill: Switch major to minor without moving the root

Stay on one root and alternate:

• R–3–5–3 (major)
• R–b3–5–b3 (minor)

Only one note changes (3 to b3), but the sound changes a lot. This is the practical payoff of root-focused mapping.

Application: Outline Chords Quickly During a Song

When chords change in real time, you often don’t need a long scale run—you need the right targets. Interval shapes let you do this fast:

• Start on the root of the chord (even if you only catch it on beat 1).
• Confirm the quality by aiming for 3 (major) or b3 (minor) early in the bar.
• Stabilize with the 5th (safe, strong, works in many styles).
• Add function with the 7th: b7 is a common “dominant/bluesy” color; 7 gives a tighter, more “resolved” pull.
• Use 2 and 4 as connectors between chord tones when you need motion without guessing.

Practical example approach (any key): for each chord, think R → (3 or b3) → 5 → (b7 or 7). Because each of those targets has a consistent location around your root, you can keep your eyes and hands calm while the harmony moves.