Patterns Within Patterns 3: Em7(9) Arpeggio within a E Aeolian Scale

To be a good guitarist, as opposed to someone whom only knows tricks, this is essential.
Knowing patterns within patterns is very important when improvising.
When I improvise, I find it is important to include complex arpeggios, but especially not limited to
arpeggios. When I solo, within 7 note modal scale I tend explore pentatonic scale, dyads, arpeggios,
and combining them with modal patterns.
My favorite modal position is the third position, or B Phrygian position, but in this case
the sound will be the traditional minor scale, sometimes called the E Aeolian mode.
Many things made this position a winner to work on. For one, E is easily the most popular minor
scale pattern in rock. However, when playing jazz usually most music is in E flat minor. To compensate
there is little work necessary, simply take the E Aeolian scale and move the whole thing a half-step
lower. A half-step is movement of one fret. A whole step is 2 notes.
Also, this scale is right in the sweet spot of the neck of a guitars, so it will probably sound better.
This is the B Phrygian scale in question:
	7th fret		9th fret			12th
thinnest string	B (root)	C		D		E
	F#	G		A
	D		E
	A		B (root)	C
	E		F#	G
thickest string	B (root)	C		D
Within this scale is also the E Aeolian mode.
	7th fret		9th fret
thinnest string	B	C		D		E (root)
	F#	G		A
	D		E (root)
	A		B	C
	E (root)		F#	G
thickest string
Emin7(9) arpeggio
thinnest string	B (5th)			D (7th)		E (root)
	F# (9th)	G (minor 3rd)
	D (7th)		E (root)
			B (5th)
	E (root)			G (minor 3rd)
thickest string
E Aeolian Mode showing both the scale and the Arpeggio.
thinnest string	B (5th)	C		D (7th)		E (root)
	F# (9th)	G (minor 3rd)		A
	D (7th)		E (root)
	A		B (5th)
	E (root)			G (minor 3rd)
thickest string

for more common Em7(9) chords: https://www.guitar-chord-finder.com/print/Em7(9)