More Ways to Play Minor 11th (Sym-ex Major 7th) Arpeggios

( Continued from: https://fretography.blogspot.com/2017/07/combining-sym-ex-major-7th-arpeggios.html )

Here's another way to play the Minor 11th arpeggio, which is rooted in either the II or the VI of any major key. I call this set of patterns "Lightning Bolt" arpeggios.

Notice that there are three shapes, the two lower forms are identical in shape and the two upper forms are simply rotated 180º from each other. 

Here again, from a previous post, is an overview of the theory behind these arpeggios ...

The concept of "Symmetrically Extended Arpeggios" is part of the Fretography Symmetry in which you can think of certain chords or arpeggios as starting with a central interval and extending both up and down equally. In the case of the Major 7th chord, the interval structure is:

Root <maj3rd> 3rd  <min3rd> 5th <maj3rd> 7th

Notice that the intervals themselves form a symmetrical sequnce; two major 3rds around a central minor 3rd. When this 7th chord is extended to the next 3rd above and below the structure is:

Root <min3rd> 3rd <maj3rd> 5th <min3rd> 7th <maj3rd> 9th <min3rd> 11th

The above diagram shows the A minor 11th and D minor 11th structure and how they are both contain the same extended major 7th forms based on identical interval structure.

Another way to play these arpeggios is to begin and end with a minor 3rd between two strings, unlike the pattern above, which begins and ends with the minor 3rd played on a single string;

 (Low A minor 11th Arpeggio - ascending and descending) 

 (High A minor 11th Arpeggio - ascending and descending) 

As you can see, these patterns span four strings each resulting in three different forms.