More about the Minor 11th Arpeggio (Part 2)

This form of the Minor 11th arpeggios has the Roots on the 6th string with each Minor 11th topping out on the 3rd string followed by two additional intervals. Notice that the two shapes differ by only the positions of the IV and the VII on the 2nd string.

The Major 7 sharp 11 

In addition to the Minor 11ths, there is one other 11th arpeggio which is built on a symmetrical interval pattern. In the case of the Major7th sharp 11, the pattern is inverted so that it begins and ends with a Major 3rd and has a minor 7th (VI)  at its center.

The interval structure of the Major 7 sharp 11th is: 

Root <major 3rd> 3rd <minor 3rd> 5th <major 3rd> 7th <minor 3rd> 9th <major 3rd> 11th

.

.. which is the only other symmetrical 11th arpeggio aside from the twin minor 11ths. There is only one Major 7 sharp 11 and it 'straddles' the tritone, being rooted in the IV of a key and ending on the VII.

Below you see the arpeggio rooted in F in the key of C major ...

Next let's see the Major 7 sharp 11 as it fits into the symmetry of the Minor 11ths ...

More about the Minor 11th Arpeggio

The Upper and Middle forms of the Minor 11th / Symmetrically Extended Major 7th arpeggio tell an interesting story of the symmetry of the diatonic system on the guitar fretboard in standard tuning.

As the Fretography® method is all about symmetry, the diagrams below lay out that symmetry on two levels. Look for the tonic (Roman numeral I) and where it appears in each form. Also notice the fret axis positions indicated by grey bars. 

The Axis frets are rooted in II (Dorian Axis), III (Phrygian Axis), and VI (Aeolian Axis). 

The yellow curve connects the II positions within the four upper strings.

The boldly outlined reversed "Z" shapes comprise the primary arpeggio forms. The extensions are shown behind with shaded edges. Notice that the upper forms differ only in the position of a single note position in each (VII and IV).

The Middle Form of the arpeggio is centered on a different fulcrum with the Dorian Axis at its outer edges. As with the upper form, the overall skewed symmetry of this form differs by only the positions of the IV and the VII in the extensions.

Again, consider that these arpeggio forms are based on the only instance of a six note interval sequence which occurs twice in every key. There is literally no arpeggio on the fretboard which
contains such clear symmetry over such a wide range both tonally and geometrically.

Next time we'll look at the lower form.

More About the Minor 11th Arpeggio

Apart from and underlying its symmetry on the fretboard, the structure of the twin minor 11th arpeggios is something to think about from a theory perspective.

Understanding this symmetry on its own, away from the fretboard, will strengthen your awareness of the how all arpeggio sequences relate to every key.

(Click image to expand. Downloaded image will be 1600 X 1233 pixels.)

The diagram above shows the symmetrical interval structure of the two minor 11ths. Notice that there is only one instance of two consecutive minor 3rds and no instance of two consecutive major 3rds. Knowing this, you can navigate the fretboard with greater certainty. Think how useful it is simply to know that there are never two consecutive half-steps in a diatonic scale, or how the minor 3rd/whole-step sequence works in a pentatonic scale.