This is the single note per chord (simplicial submelody) transpositional method (3 different diatonic scales). There is the single note per chord (simplicial submelody) modulational method, which remains in the same tonality. Then the method is different than the diatonic scale. E.g. pentatonics scales (e.g. hirajoshi too) blues hexatonic scales, other hexatonic scales , bebop scales (8, 9 or 10 notes), scales, etc.
E.g. The chords of the 12 bars blues are in C major (C,F,G7) while we solo in C minor (Eb major< with Bb, Eb, Ab, that make Cm, Fm, Gm, but still there are the root notes C, F, G, so as to stay there as long as necessary). Or soloing in pentatonic C minor, or Blues C minor , besides, of course, diatonic C major, pentatonic C major and Blues C major. In spite of teh above paradoxes, the strict rule, that at least 50% of the time that a chord is sounding, the solo, must sound notes of the chord. This rule seems to hold also in the next video. It is equivalent to changing the standard chords C,F, G, in a limited time <50% , to more jazzy, containing 2nds, 4ths, 6th, 7nths, 9nths etc becoming minor etc
https://www.youtube.com/watch?v=IzWEyHTu_Zc&list=PLtVS5-a9C-OAAkWva8ltIOmE7BkU3o1m6
The paradox is that when playing e.g. 12 bars blues at C major scale with C, F and G7 chords, the pentatonic and hexatonic blues scale is to improvise is not the A minor (=C major) but the C minor (which tracks a transposition in Eb, or C minor).
The bending of the dominant 5th in the natural minor to the blue note and forbidden tritone!
The simultaneous occurring of 1M and 1m (change of major tonal to minor), so 3 and 3b (blue note). This accommodates mirror transpositions (negative harmony) as well as transposition upwards by a minor 3rd.
The minor and major pentatonic and minor and major blues hexatonic scales.
minor 5-tonic 3-2-2-3-2 (a c d e g a ) and minor blues hexatonic 3-2-1-1-3-2 (a c d eb e g a)
Heptatonic version of the blues scale :
1) By a leading 7th note (Ancient Greek chromatic) 3-2-1-1-3-1-1
2) By a mode of the harmonic minor e.g. 2-1-2-1-3-1-2
When using a blues minor over the diatonic of a 12 bars blues, we introduce the chromatic notes 7b and
4# (the blue note). If we extend to the anacient greek chromatic we do not introduce any new chromati note. The 7b chromatic makes the 5M to 5m. The 4# makes the 2m to a 2M.
When using a blues major over the diatonic of a 12 bars blues, we introduce the blue note 3b. If we extend to the anacient greek chromatic we do introduce a new chromatic note the 5#. The 5# chromatic makes the 3m to 3M. The 3b blue note makes the 1M to 1m.
Thus we have a minor version of the ancient greek chromatic as 3-2-1-1-3-1-1
and a major version as 2-1-1-3-1-1-3
