So what would it sound like to follow the practice regimen outlined in the Side Bar ? Starting with Step 1, you might run the C dominant scale over a II-V in F (a). For Step 2, going from C dominant to G flat dominant, you might take a similar approach over the same II-V, and/or a II-V in C flat/B (b, c, and d). Step 3 could be realized in patterns such as those in (e) and (f) shown over a II-V in D minor, and Step 4 might take a simple approach as in (g) over the same progression. Notice that your scale choice doesn't have to switch right on the barline or the chord change, although it certainly could. This is because of the interchangeability of the four related dominant scales. In (e), for example, I use the C dominant until the very last note; if I had switched to the A dominant on the barline, I would have played an F sharp instead of an F natural. The F in this case becomes a flat 13, a perfectly valid note choice. As you practise running the scales together, experiment with the sound of each of the four related scales over each set of possible changes. Depending on your scale choice, you'll be somewhere along the continuum that runs from chord tones to altered tones.