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 Now we need to create some vocabulary based on the arpeggio patterns. We do this by adding other notes to the arpeggios. Any notes may be added but the most common additions are 2nds &/or 4ths. 


Example 1:
1-octave Dmi7 arpeggio with an added 2nd, played in 4 positions:


Example 2:
1-octave Dmi7 arpeggio with a 4th added, played in 4 positions:


Notice that a minor 7 arpeggio with an added 4th
is nothing less than a good old Minor Pentatonic scale.


Here is an  example of a melodic phrase using a D-7 arpeggio with a 2nd added:


Here's one with a 4th added:


Example 3:
D-7: add an Aolian 6th, played in 4 positions:


Example 4: 

D-7: add a Dorian 6th, played in 4 positions:



All these non-chord tones (2nds, 4ths, and 6ths) can be added singly or in combinations. Obviously, if you added all 3 non-chord tones to the triad arpeggio you would have a 7-tone scale or mode. In the Dmi7 examples above it would be a D Aolian or a D Dorian depending on which 6th you used. Anyway, here's a phrase that adds a 2nd and a 4th:


Example 5:
D-7: add a 2nd and a 4th, played in 4 positions:


Example 6:
Things can get more interesting by adding notes that aren't in the key or the corresponding scale or mode. I just call them passing tones and leave it at that. Passing tones are dissonant and so must resolve to a chord tone, i.e. one of the arpeggio notes, in order for them to work. The passing tones in the following example are the sharp 7 which resolves upward to the root, and the flat 5 which resolves downward to the 4th, then to the 3rd.


Play the above phrase in every key around the Circle, recite names: