The scale choices for the modern changes are largely the same as the jazz version, with a handful of targeted adjustments for the new chord qualities. The trick is knowing exactly which tweaks apply where — the rest you already have.
What you’ll get out of this lesson
A precise breakdown of the scale options for each chord that has changed in the modern version, plus a backing track to try them all over straight away.
Scale choices for the new chords
B-11 or Bm: B Dorian, B minor pentatonic
E7b9 or E7#9: E Phrygian Dominant, E Superphrygian (3rd mode of harmonic major), E altered
BbMaj7#11: Bb Lydian, A minor pentatonic
F#m7b5: F# Locrian, F# Locrian natural 2 (6th mode of melodic minor)
Your safety net
When in doubt, come back to arpeggios — outlining the actual chord tones is always musical. Beyond that, A minor pentatonic, the A blues scale, and A Dorian all work as reliable home bases you can return to at any point in the form. They may not hit every colour on the chart, but they’ll never sound wrong.
Jam over the backing track
Here’s the modern backing track. Have a go with the new scales straight away — active experimentation is the fastest way to internalise these sounds:
And here are the changes for quick reference while you play:
Putting it together
When you first solo over the track, don’t try to use every scale on the chart at once. Pick one chord — the E7b9 is a great starting point — and focus on making just the altered or Phrygian Dominant sound work in context. Once that feels comfortable, move your attention to the next chord. Build the map of the changes one chord at a time.
Taking it further
Compare how the same altered dominant sounds on the E7b9 in the modern version versus a plain E7 in the jazz version. The E altered scale will clash beautifully in both contexts — but notice how it sits more naturally in the modern version because the surrounding chords already have that edgier colour. Context shapes how we hear every note.
Your homework
Spend twenty minutes jamming over the backing track above. For the first ten minutes use only arpeggios and the pentatonic options. For the second ten, introduce Phrygian Dominant over the E7b9 chords and Lydian over the BbMaj7#11. Record yourself if you can — listening back is always revealing.