I'm not a guitarist, so I was going to ignore this question. However, as a keyboard player, I noticed that I use a lot of very similar inflections. You should get a proper answer from a guitarist (or twelve) shortly, but I thought it could be worth throwing in my two cents.
Chordally speaking, the two patterns you mention are
A [see note]. It's a pretty simple idea, but effective.
Here's some similar ideas. Some are more inventive that others. I've used
chord to represent the non-extended chord. Also, the inflection may end on the next chord in the progression, if the pattern allows it.
chord. Pretty obvious, but it's the basis for most of these ideas.
chord. In D, one of the strings would move E -> F# -> E -> D.
chord. This is a similar idea, but you move the fifth, not the third. In D, one of the string would move A -> B -> A -> G -> A. This might require a different voicing of the chord; I don't know enough to help you here.
These ideas are genre dependent, and can sound really out of place, or annoying if overused. I tend to use them as a light seasoning, to add some interest.
I also use patterns involving major sevens a lot, but I don't know if that will translate well to guitar. Experimentation is recommended.
I would also play around with the
IVsus4 chord. In D, that's Gsus4. The suspended 4 is a C natural, not the C# that's in the key signature (think B-> C -> D -> C -> B). It has an interesting sound. You can also try playing around with the #4 (i.e. B -> C# -> D -> C# -> D). It's much more dissonant, but can be musically useful.
I hope that starts you off. If not, there's a bunch of good guitar types around here who should be able to correct me, and point you in the right direction.
[Note] Technically they might be
add9 chords, if there is a third on one of the other strings, but I would consider that distinction to be academic for this purpose.