I'd like to understand the relationship(s) of what's occuring here a little more......... I'm doing a vamp with a bluesy feel ....just i - VI - i - V (I guess, constructing off of C# Locrian) i VI i V C#m7 - A9 - C#m7 - (G6 or GMaj7 or Gadd9 alternating) Voicings: C#m7 Fret Finger E-9--- 3 B-9--- 3 G-9--- 3 D-9--- 3 A-x--- E-9--- 1 A9 Fret Finger E-12--- 4 B--x--- G-12--- 3 D-11--- 2 A-12--- 1 E--x--- G6 Fret Finger E--x--- B--8--- 1 G--9--- 3 D--9--- 2 A--10-- 4 E--x--- (or) Fret Finger E-3--- 1 B-5--- 4 G-4--- 2 D-5--- 3 A-x--- E-x--- GMaj7 Fret Finger E-x--- B-3--- 2 G-4--- 4 D-4--- 3 A-x--- E-3--- 1 Gadd9 Fret Finger E-(0)--- 0 B-10--- 4 G-7---- 1 D-9---- 2 A-10--- 3 E--x--- I came up with this because I wanted to accentuate the b5 in the C#min "blues" scale............ So I got it boppin' over -n- over on a loop and I find that I like how C# Locrian flows over the whole thing........ Things that I'm pondering....the G6 even with "G" as the lowest note sounds more minor than major to me (I know that enharmonically it is Emin)....... Another thing, although I'm "thinking" C# Locrian/C# Blues as the "home base" scale because all the fingerings for each chords "mode" come out of the same shape, "technically" I guess I've been playing: C#min7: C# Locrian or C# Blues........... A9: A Mixolydian/A Ionian "overlapped", which adds the G# providing chromaticism , I derived that from "overlapping" C# Blues and Locrian and applied the same idea to the A9...is that really what good chromaticism is all about?? Tying together the particular family of scales you're choosing to improvise with, via overlap, then partitioning them distinctly with your phrasing? The thing I'm trying to accomplish here is "hearing" multiple scale choices at once, versus thinking of one particular group of notes at a time....... G6 or GMaj7 or Gadd9: G Lydian..... Would the above be considered "playing the changes?" I am targetting consonant chord tones for release for each particular chord..... Or is playing the changes more along the lines of superimposing other keys? If so what other alternatives should I (would you) try superimposing here? On top of that even, what's a musical/ logical way (Tension...release) to shift this progression through modulations?? I had a conversation today about the whole "outside" thing with a friend of mine........He said "forget about the root of each chord, play scales/ arps that consist of nothing but alterations and extensions to the chord and steer away from the home notes of the chords, learn to recognize tensions and learn how to just stay there....." I'm not sure where I'm going with this, but it seems like the right way to a more "outside" approach......???? Sorry if this rambles about a bit!!! If I had a better idea of what to ask I'd have a better idea of how to end up where I want to be!!