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.

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.

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.

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.

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.

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.

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

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.

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.