This grooveless sequence illustrates some other shapes that I play around with. The first two are string skipping versions of a C#-7 and Dmaj7. The third is a nice intervallic idea around Dmaj7/9..
The fourth one is REAL interesting. What happens if you arpeggiate a four-note chord(in this case, Dmaj7):
and then arpeggiate the chord immediately above it harmonically(In this case E7)?
You end up hitting every diatonic extension available...or to word it better, you're playing the whole scale. I use this approach a LOT. This example ends up being a Dmaj7(9,#11,13) arpeggio, which is a real impressive term to lay on your bass player when he thinks he's right about something (ha!). Enjoy!