Reading the shapes: vertically adjacent dots form a playable triad.
Root position has the root on the lowest selected string; first inversion starts on the
third; second inversion starts on the fifth — and the three of them repeat every
twelve frets. On sets that cross the G–B boundary, everything on the B and high e
strings shifts up one fret; that major-third tuning gap is why the same triad looks
different on different sets. Non-adjacent sets (like 6-4-3 or 5-3-2) give spread
voicings with a wider, more open sound.