CMi7 4 STRING GROUPS NO OPEN STRINGS E-D-G-B [E] [A] [D] [G] [B] [E] * * Eb * C * *# * * * *# *# G * * Bb * * *# *# *# * Eb *# * * G C * * Bb * * * * * * * * * *# * C * Bb Eb G * *# *# * * *# *# * * C * * * Eb *# *# *# Bb *# * * * G * * D-G-B-E [E] [A] [D] [G] [B] [E] * * Eb * C * *# * * * *# *# * * * Bb * G *# *# *# * Eb *# * * G C * * * * * * * Bb * * * * *# * * * Bb Eb G C *# *# * * *# *# * * C * * * *# *# *# *# Bb Eb * * * G * * A-D-G-B [E] [A] [D] [G] [B] [E] * * * * * * *# * * * *# *# * C * Bb * * *# *# *# * Eb *# * * G C * * * Eb * * * * * * * * *# * * * Bb Eb G * *# *# * * *# *# * G C * * * *# *# *# *# Bb *# * * * * * * E-A-D-G [E] [A] [D] [G] [B] [E] * * Eb * * * *# * * * *# *# G C * Bb * * *# *# *# * *# *# * * G C * * Bb Eb * * * * * * * * *# * C * Bb Eb * * *# *# * * *# *# * G * * * * *# *# *# *# *# *# * * * * * * A-G-B-E [E] [A] [D] [G] [B] [E] * * * * * * *# * * * *# *# * C * Bb * G *# *# *# * Eb *# * * * C * * * Eb * * * Bb * * * * *# * * * * Eb G C *# *# * * *# *# * G * * * * *# *# *# *# Bb *# * * * * * * It's worth noticing what has happened is we have taken the E natural, which is the major third interval, and lowered it one fret to Eb, which is the minor third interval of the C Maj. Additionally, the B natural is now a Bb. Thus we have a Cminor chord with its seventh. The reason the interval s "flat" relates to how the minor sevenths are derived from the original parent scale. You might want to cross reference this with the sections on how chords are built to review and reenforce your insights into this process. In the great tradition of the pedagogue ducking full completion of tasks in your best interests, of course, I wish to point out that there are four possible four voce forms in each of the four string groups. Since I built the tables for twelve frets, occasionally one will be missing due to reasons of space. Consider that to be a challenge in the completion. If you like jazz you will be using these forms constantly as II chords in the II V progression, among their many functions.