Gmaj7, and Bmin7flat 9 in a Phrygian Pattern

Blue highlighted squares are places to focus on.

Fingerboard section patterns in standard tuning.
	7th fret		9th fret
Thinnest String	3	4		5
	7	1		2
	5		6
	2		3	4
	6		7	1
Thickest String	3	4		5
Tip:
Using the 3 as the root note of a solo, one can explore the Phrygian sound.
Root note: G
	7th fret		9th fret
Thinnest String	3	4		5
	7	1		2
	5		6
	2		3	4
	6		7	1
Thickest String	3	4		5
Hints:
1. Alternating between 3 and 4 can create a sustain or release pattern in G Ionian.
2. Rock rarely uses a major 7 chord, but including the 7 is very common for jazz.
However, the 7 can be used better as an approach note to the root.
3. Playing the 3rd and the 7th together makes for great usage of a minor 7 chord if you have a bass player.
4. Usually ascend from 1 to 3 or 4, but not 7 to 3 or 4. 7 to 4 is a flat 5 usually doesn't sound good.
5. One good lick is chromatic approach note 7 to 1 and then 3 4 1.
6. Use 1 and 3 as a major dyad.
Bmin7 pattern (in bold)
	7th fret	8th fret
Thinnest String	1	flat 9
	5	6
	3
	7
	4
Thickest String	1	2
Tips:
1. Use the flat 9 for a Phrygian sound. Few people do, but I think its cool.
2. This pattern is great for sweep picking.
3. Also, use Bmin (1, 5, 3) or Bmin7 (1, 5, 3, 7) as chords to add to a solo.
4. Just use the index finger to make the minor or the min7 chord shape.
Gmaj pattern (in bold)
	7th fret	8th fret
Thinnest String	3	4
	7	1
	5
	2
	6
Thickest String	3	4
Tips:
1. To play the Gmaj triad use index finger for 5, ring finger for 1, and middle finger for 3.
2. Ascend or descend.
3. Resolve the sus4 to 3.