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.

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.

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.

A single note less in a challenging chord can help create a more beautiful phrase while maintaining flow.

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

The climax of the piece features minor seconds that create a sharp and harsh sound, but they are part of a nice chord progression.

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.