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 4: 3 Major Triad Shapes in 3rd Position

This link may be of help: https://www.amazon.com/Guitar-Triads-Cheatsheet-Laminated-Reference/dp/B07BMG4ZDJ

These chords sound happy even though this is a minor or minor scale.
These are major triads, as opposed to minor triads.
The deepest note, B, starts the Phrygian scale, which is mode 3 of the major scale.
This is my favorite position of the major scale.
This is the scale in question. The deepest note is B on the fattest string.
	7th fret		9th fret			12th fret
thinnest string	B (root)	C		D		E
	F#	G		A		B
	D		E		F#	G
	A		B (root)	C
	E		F#	G
thickest string	B (root)	C		D
All triads consist of 3 notes that consist of a root, a major 3rd interval, and a 5th interval.
Major triads take 3 different forms on the highest pitch strings.
The three forms are the root, 1st inversion, and 2nd inversion.
This is the shape of root inversion triads on the 3 highest strings.
The intervals are in order, root, major 3rd, and 5.
Thus, this is a Gmaj triad. If you are soloing it belongs to an Ionian pattern.
	10th fret		12th fret
thinnest string	D (5th)
			B (maj 3rd)
			G (root)
thickest string
This is the shape of a 1st inversion triads on the 3 highest strings.
It's intervals in order are major 3rd, root, and 5.
The Cmaj triad belongs to the C Lydian scale.
The Dmaj triad belongs to the D Mixolydian scale, and very importantly has a flatted 7th note.
The flated 7th is not a part of the Dmaj triad, and it is also hard to use without the orange D root.
If you feel really inspired, the orange 13th also fits in the mix too if soloing in D Mixolydian.
	7th fret		9th fret			12th fret
thinnest string		C(root)		D(root)
		G 5th		A 5th		13th
			E maj 3rd		F# maj 3rd
				flated 7th		D root
thickest string	B
This is the shape of a 2nd inversion major triad on the highest strings.
It's intervals in order are 5th, root and major 3rd.
The Gmaj triad belongs to the G Ionian scale.
The sus4 note can be used to add suspense and release. It is not a part of the triad.
	7th fret		9th fret
thinnest string	B maj 3rd	sus 4
		G (root)
	D 5th
thickest string	B
The next three patterns show the triads within the 3rd position.
	7th fret		9th fret			12th fret
thinnest string	B	C		D		E
	F#	G		A		B
	D		E		F#	G
	A		B	C
	E		F#	G
thickest string	B	C		D
	7th fret		9th fret			12th fret
thinnest string	B	C		D		E
	F#	G		A		B
	D		E		F#	G
	A		B	C
	E		F#	G
thickest string	B	C		D
	7th fret		9th fret			12th fret
thinnest string	B	C		D		E
	F#	G		A		B
	D		E		F#	G
	A		B	C
	E		F#	G
thickest string	B	C		D