Way back in 1980, I was experimenting with mathematical expression of musical tones as frequencies of light - just on paper, but pretty fun while massively stoned.  :)
 
I did go on to become a programmer and musician, and stoner - go figure.
 
Bob Bone
 

I can't read that page Noel. It's only comes in the make my eyes hurt version.

Years ago I took an old book home from the library called "Basic harmony & basic harmonical mode of thinking" by a German jazz guitarist called Werner Pohlert. I really wish I'd spent more time with it because in it he presents a very unique but simple and enlightening way of thinking about any chord progressions and soloing over any changes. Every chord change was some kind of cycle of fifths to this guy, and he explained why with these cool little hand drawn graphs and diagrams. He also outlined how you can solo over any chord progression, no matter how freaky, with pentatonic scales without having to learn very much at all. It was one of those beautiful labor of love kind of books and I know it sounds awful but I wish I'd kept it as "lost" and paid the library for it. I've never seen it in stores since. 

Noel - if you leave out the condition of not having two semi-tones next to each other, you get the Melakarta Ragas....so, 72.

You get into dangerous territory if you leave that constraint out - I left that study for another lifetime :)
 
Robert, not sure if you meant not being able to read that literally. Its just a simple PDF file on google drive so not sure why you cant see it. It opened fine on 3 different computers here.

I learned from Gary Burton, echoed by Allan Holdsworth, of thinking of it in terms of intervals, not only for the notes for a given scale, but also in terms of transitional movement from one scale or chord to another, making use of common points when possible.
 
Allan Holdsworth also seems to approach soloing as really just examples of finding melodic lines as subsets of the chords, tempered by the sonic coloration of both the chord and other aspects of the given moment.
 
Gary Burton also expressed those tendencies, with his preference to play melodic, but wide-interval solo notes when soloing.
 
Both players frequently use diminished chord arpeggios to move between chords, to add some ethereal quality to the melodic lines they create.
 
There is also the effects of rhythmic 'pronunciation' - cadence, where variations of sub-divided groups of notes are interspersed in the melodic line, to add emotion, and to create and release tension.
 
There is a beautiful melodic line that has lots of diminished arpeggios moving through chord progressions, in a song by Bill Bruford called Sample and Hold.  Here is a link to a live version:
 
https://www.youtube.com/watch?v=BXgHPk8j0iQ
 
There is a drum into maybe 19-15 seconds, it's also a live version, but you can clearly hear the different chord forms of the melody lines moving through the diminished chords on the ascension.
 
Bob Bone
 

Thanks for that Bob. Been a long time since I heard some Bruford.

I saw the page. It's just white. I see that there is fonts and everything but I can't look at white screens anymore. I haven't bought Finale since 2011 because of it. It's painful, for my eyes, to look at white screens. That's why I complain about the lack of color customization in the X series of Sonar.

I found out how to save it as a PDF. Now I can see it.

Guitarpima, have you tried installing Flux on your computer? It warms the colors so they aren't so white/blue. In normal usage it warms and dims colors after sundown, but I'm sure you can set it up to tone them down all day. Don't know what I'd do without Flux, bright white screens at night were playing havoc with my sleep.