How to Solo Over Non Diatonic Chord Progressions!

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In this video lesson "How to Solo Over Non Diatonic Chord Progressions", I demonstrate strategies that will help you to begin exploring soloing outside of a single key, and also reduce the complexity of the exercise.
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[@MrAustinMusic]

Great video Chris! Always look forward to when you upload.

[@ChrisPetersGuitar]

Thanks man! I'm glad you dig it.

[@genegabriel9113]

Can i apply this on bass?

[@ChrisPetersGuitar]

Sure! You can apply these concepts to any instrument, but you might want to alter your approach based on the context/ role of your instrument's part within the music. On bass you might want to really focus on chord tones and approach notes more than the full scale/mode.

[@mahathirmoon5010]

I have a question
Suppose I have a progression
B7 - Cmaj7
How should I treat that B7?
Which scale should I play over that B7?
I can play Cmin scale treating the B7 as the borrowed chord from Cmin key or should I play Bmiixolydian
Or I can aslo play Bmaj Pentatonic
What should I do?

[@ChrisPetersGuitar]

There are many ways to approach this (which will likely vary based on your desired melodic result). I might approach it as C lydian over Cmaj7 (fourth mode of a G maj scale), and B phrygian dominant (5th mode of E harmonic minor, aka G maj scale with a D#/raised 5th). This will probably flow more, as only one note is raised to account for the borrowed B7 chord (i.e. non diatonic to C lydian). In comparison to playing B mixolydian (E maj scale) over B7, and C ionian (c maj) or C lydian (g maj scale) over C maj 7. You would be raising 4 or 3 notes (respectively). This would be more angular and jarring melodically. Let me know if this makes sense. Thanks so much.