1st position Eminor Pentatonic Scale Meets Minor Modes

First, the most common Eminor Pentatonic Scale:
	12th fret			15th fret
Thinnest string	E			G
	B			D
	G		A
	D		E
	A		B
Thickest string	E			G
This scale can be the backbone of the Dorian, Phygian, and Aeolian scales.
Dorian is probably the most important to jazz, especially given the commonality of ii V chord progression.
Here is its overlay of the Dorian pattern (Emin in red, Dorian in red and black):
	12th fret			15th fret
Thinnest string	E		F#	G
	B		C#	D
	G		A
	D		E		F#
	A		B		C#
Thickest string	E		F#	G
This scale can be hard to finger due to the 2 whole step stretch on the A string and the D string,
so I don't recommend it if there is any pain.
Here is its overlay of the Phrygian pattern (Emin in blue, Phrygian in blue and black):
	12th fret			15th
Thinnest string	E	F		G
	B	C		D
	G		A
	D		E
	A		B	C
Thickest string	E	F		G
Here is its overlay of the Aeolian pattern (Emin in purple, Aeolian in purple and black):
	12th fret			15th fret
Thinnest string	E		F#	G
	B	C		D
	G		A
	D		E		F#
	A		B	C
Thickest string	E		F#	G
So, now you might wonder which mode to use in a song when soloing, and that is the mode described
by the chords, melody, and/or harmony.
By using the term minor, I mean scales that have a minor 3rd interval, but are not diminished.
A diminished scale has a minor 3rd interval and a minor 5th interval.

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)