As we’re using the string sets from Part 1, we can take advantage by moving diagonally across the neck and retaining the symmetry of moving horizontally up and down the neck. Check out the E Natural Minor (E Aeolian) patterns below; they’re symmetrical across string sets with the addition of the missing b7 (in blue). Play the four notes on the D and B strings with one finger per fret. To come back down, simply reverse the pattern. You may want to start with the pattern up at the 12th fret. I like these patterns because they don’t sound like obvious scale patterns, and once you have the under your fingers, they become a powerful tool.
Your fingering for all these patterns should be (from low to high): 1, 2, 3 | 1, 2, 3 | 1, 2, 3, 4 | 1, 2, 3 | 1, 2, 3, 4 | 1, 2, 3 to avoid having your third finger rendered useless by trapping it in between fingers two and four as you may be used to doing with 3NPS scales.
Unless you have a rock-solid alternate or economy picking technique already, I’d always encourage you to find the best way for YOU to pick these patterns by trial and error as the ‘best way’ is always the best way for you.
First up is another useful minor mode: the Dorian scale, again in E. To use these scale shapes in other tonalities, simply shift the whole thing to the desired root note.
We can strip down these patterns and turn them into arpeggios by removing the requisite notes. Here’s a minor 7 arpeggio:
Here’s the major 7 and dominant 7 versions, respectively: