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.

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.

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.

When superimposing the altered scale over a chord progression, it can create an outside sound that still resolves nicely back to the original chord, enhancing the musical expression.

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.

When improvising, I often focus on the Dorian, Lydian, and Mixolydian modes, as they frequently arise in my teaching of improvisation.

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

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.

As I move from the first string to the second and third strings, I subtly brighten the tone to maintain a cohesive color throughout the melody.