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.

I prefer to practice scales in pairs, but sometimes I have to adapt to the requirements of the music.

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.

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 altered dominant scale, also known as the superlocrian mode, is derived from the melodic minor scale and is used to achieve a unique harmonic color in improvisation.

To make music interesting, we need to incorporate hierarchical patterning and conditional models that can generate variations, such as chord changes, to create more engaging compositions.

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.