In my music, I avoid standard major and minor tonalities, often using poly-modal harmonies instead.

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

Within E major, there are three pentatonic major scales: E major pentatonic, A major pentatonic, and B major pentatonic, each emphasizing different notes while remaining consonant.

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.

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.

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.

Diminished chords, like the one in bar 78, often carry more tension, so I emphasize them to add strength and presence to the melody.