The most frequent triad I grab is still this one. Adding extensions, suspending the third, or even dropping the root in favor of the maj. 7 all make this shape a lot more interesting than the basic 1/3/5.
I recently picked this one up from a book of jazz chords. I love the sound of the 4th/11th versus the 5th with the m7 still in there.
These are probably the most useful major close position triads on the neck, or at least the ones I grab most frequently. I’ve been working through triads and spread triads to have a full range of them on tap as needed. Nothing fancy but worth committing to memory, particularly including the interval locations.
I’ve always found Phrygian difficult to use, but using the characteristic flat second in the context of a minor arpeggio rounds off some of the edges. These tend to look a bit scale-like, but really you find the main pinky-ring-index motion up the core of the arpeggio remains the same, and you just have the extra ♭2 to color the sound.
I’ve been struggling with ways to highlight modal sounds lately and figured I should try and work out characteristic arpeggios. I don’t know if this is an accepted concept or not, but I’ve found it useful, so figured I’d throw them out there. The first one is a Lydian arpeggio, which is just the major 7 with an added #4/#11.