CAGED TRIADS:                              | | |      | | |
                                        E  | 0 R  5   o o r  Em
3 frets above 5 is b7                      0 | |      | | |
2 frets below R is b7                      | | |      | | |
2 frets above 1 is 2 (9)                   | | |      | | o  Dm
2 frets above 5 is 6 (13)               D  0 | 0  9   o | |
                                           | R |      | r |
Major:                   Minor:            | | |      | | |
                                           | | 0  12  | | o  Am
||||5R "E" shape         ||.35R            | | |      | o |
|||3||                   ||||||         A  R 0 |      r | |
||.... (up 5 frets)      ||..||            | | |      | | |
                             ..            | | |      | | |
|||5|3 "D","C" shapes                   E  | 0 R  17  o o r  Em
||||R.                   ||||.3            0 | |
||..||                   |||5||
||||.. (up 4 frets)      ||||R.
                         ||||||
||||.5 "A","G" shapes          
||||||                   
|||R3.                   |||.|5
||||.| (up 3 frets)      ||||3|
                         |||R||
                         ||||..
                         


Mysterious, Dissonant:  #1 (b2), #5 (b6), b5 (#4)

Happy, Sweet:  6, 2, (4, 7)

Bluesy, Dark, Rock 'n:  b7 (#6), b3 



2 and 6 over any chord are relatively unaffecting, transparent or tasteless.

b7 over dominant or minor is generally as much a part of the chord as the triad.


THE ROMAN NUMERAL PROGRESSION DEEPLY AFFECTS THE SOUND OF EACH INTERVAL NOTE, AGAINST EACH CHORD IN THE PROGRESSION (i.e., a "4" interval note sounds different - has a different effect - over a I chord, than it does over a bVII chord).  You need to hear each interval in practice against each roman numeral progression.