Every interval as a shape on the fretboard

Two ways to play any interval

You can play an interval on one string (count frets) or across two strings (a shape). On guitar, shapes are faster — you can grab them without thinking.

Here are the most useful shapes for each interval, with the root on the low E string and the second note within reach.

Minor 2nd (1 fret)

. . . .
. . . .
. . . .
. . . .
. . . .
R N . .         R = root, N = next note (1 fret right)

Major 2nd (2 frets)

Same string, two frets up. Or: same string, but on the guitar this small gap stays on one string.

Minor 3rd (3 frets — but easier as a shape)

. . . N         (one string up, one fret back)
. . . .
. . . .
. . . .
. . . .
R . . .

Reverse the orientation: root on low E, m3 is “up one string, back one fret” — except when crossing the G→B string boundary (add a fret).

Major 3rd (4 frets)

. . N .         (one string up, on the same fret as root)
. . . .
. . . .
. . . .
. . . .
R . . .

Perfect 4th (5 frets)

N . . .         (one string up, same fret)
. . . .
. . . .
. . . .
. . . .
R . . .

This is the easiest, most-used interval shape — and it’s the relationship between most adjacent string pairs in standard tuning.

Tritone (6 frets) and Perfect 5th (7 frets)

. N . .                 . . N .
. . . .                 . . . .
. . . .                 . . . .
. . . .       or        . . . .
. . . .                 . . . .
R . . .                 R . . .
   TT                       P5

The P5 shape — root on low E, fifth on the A string two frets higher — is the power chord shape. You already know it.

Major 6th, minor 7th, Major 7th, Octave

. . . .  .          . . . .  .
. . . .  .          . . . .  .
. . N .  .   M6     . . . N  .   m7    (2 strings up, ±frets)
. . . .  .          . . . .  .
. . . .  .          . . . .  .
R . . .  .          R . . .  .

. . . .  N          . . . .  .
. . . .  .          . . . .  .
. . . .  .   M7     . . . N  .   P8    (the octave shape!)
. . . .  .          . . . .  .
. . . .  .          . . . .  .
R . . .  .          R . . .  .

See them on a real fretboard

The diagram below highlights the perfect 5th of A — which is E.

Every E above is a perfect 5th from some A on the neck. The “shape” of the P5 is the same everywhere except when crossing the G→B string boundary, where you add one fret.

Practise this way

1. Pick a root note anywhere on the low E or A string.
2. Without looking at a chart, play its m3, M3, P4, P5, M6 in order.
3. Each one out loud: “minor third… major third… perfect fourth…”
4. Move to a new root. Repeat.

Five minutes a day for a month and intervals become reflexive.