As I improvise over the chord progression, I will focus on one pentatonic scale at a time to highlight different aspects of the E major scale, creating varied flavors while staying within consonance.

Using C major pentatonic over the B7 chord can introduce interesting altered sounds, as it incorporates notes from the altered dominant scale while maintaining a coherent musical idea.

I will demonstrate how to use the B half-whole diminished scale, an octatonic scale created by alternating half and whole steps, to create outside sonorities over the B7 chord while resolving back to F# minor. In jazz, over the B7 chord, we have a variety of altered tones including the root, flat nine, sharp nine, major third, sharp eleven, and flat five, which create tension before resolving back to the F sharp minor chord.

In this advanced lesson, I will explore contemporary sounds and start with consonant sonorities using a progression in E major, which includes F# minor 7, A, and B7 chords.

The C sharp super locrian scale, which is the seventh mode of D melodic minor, contains many altered tones, making it suitable for creating an altered sound in improvisation.

To achieve a contemporary color while remaining in E major, I will briefly explore the modes, starting with the Ionian mode and moving through Dorian, Phrygian, Lydian, Mixolydian, Aeolian, and Locrian modes.

I use a structure of minor and major chords in music that has popular or traditional flavors, primarily for contrast. Minor keys are often labeled as sad and major keys as happy, but this classification is nonsense; the truth lies in how you manage tonalities.

In jazz and pop improvisation, the melodic minor scale retains its raised sixth and seventh degrees when descending, unlike classical theory which often lowers them.

I find Mixolydian and Lydian scales very useful for creating interesting patterns in my music.