im not a jazz/fusion guy at all im mainly a metal/rock guy who sometimes also play blues. and because music is my full time job i also played a lot of bossa nova and jazz stuff but only as a rhythm guitar so i cant really play solos over a serious jazz piece. sometimes i throw around some jazzy chords and play lead over it just for going outside my safe zone and for fun of course!
im really good on theory i know how to use a lot of different scales like phrygian dominant/altered scale etc.. but there are 2 scales that i dont know and want to learn (but i cant since i dont know their names)
actually i figured out the first scale by ear its over constant maj7 chords that 2 whole step apart from eachother (for example: Cmaj7 Emaj7 Abmaj7) and the scale that i found by ear is C D# E G Ab B C so its like going 1.5 and a half step over and over. im %100 sure that i didnt found something new and there is a name for it.
the second one is for again constant maj7 chords but this time 1.5step apart from eachother so again if you start from C the chords will be Cmaj7 Ebmaj7 F#maj7 Amaj7. i couldnt find this one by ear and maybe there isnt just 1 scale for these 4 chords but if thats the case what will you guys play over these chords if they are changing really fast ?
As Henry said, the 1st scale is a symmetrical augmented scale.
There are 2 possible modes of this scale:
min 3 + min 2nd
and
min 2 + min 3rd
You've laid out the former which is way more common than the latter.
Starting on C, we get:
C Eb E G Ab B C
It can also be seen as being derived from the notes of two aug triads whose roots are a 1/2 step 9or a min 3rd) apart.
E.g. B+ +plus C+ = The C symmetrical augmented scale (m3 + M3).
This scale contains the notes of all of the following chords:
C, Cm, C+, Cmaj7, Cm(maj7), Cmaj7#5
Eb+
E, Em, E+, Emaj7, Em(maj7), Emaj7#5
G+
Ab, Abm, Ab+, Abmaj7, Abm(maj7) and Abmaj7#5
B+
As such, it can be useful on progressions that involve these chords together within a sort of aug scale harmony.
But there might be other factors that will sway the ear elsewhere.
I've seen it suggested to try this scale on ANY chord that contains an aug triad.
E.g. Try it on C7#5 (even though the B nat in the scale is likely to sound like ass if you emphasize it too much on this chord), C#m(maj7), etc.
This is sort of a "taking it out there" type of suggestion.
The other symmetrical chordal sequence you've listed does not normally work the same way.
If you were to combine all of the chord tones of Cmaj7, Ebmaj7, Gbmaj7 and Amaj7, you'd get the following scale:
C Db D Eb E F Gb G Ab A Bb B, i.e. the entire chromatic scale.
So, you actually might get some mileage out of using the chromatic scale over a fast progressions of these 4 chords, but it'd be mostly hit and miss.
A better strategy is to play off of the chord tones of each individual chord while that chord is being sounded.
After that you might try the major or the lydian scales built on the roots of each individual chord while still concentrating mainly on the chord-tones themselves.
After noodling/improvising like this for several hours, months or years w/o success you might want to start composing lines that you like the sound of based on these ideas and attempt to memorize them and use them in your solos.
Scalar or chord-tone noodling only goes so far.
At some point you have to come up with something that sounds like music.
Now, if you made them all dom7 chords (C7, Eb7, Gb7, A7) instead of maj7 chords, when we added up the chord tones we'd get:
C Db Eb E Gb G A B
This one IS a symmetrical scale and it can be used on any one of these chords individually or on a progression using these 4 chords.
Its intervallic symmetrical formula is min 2 + maj 2nd.
Aka "The half-whole diminished scale".
It has one mode, namely maj2 + min 3rd (aka the "whole-half diminished scale") which is used on dim7 chords.
This scale contains all of the notes of:
C13(b9,#9,#11)
Eb13(b9,#9,#11)
Gb13(b9,#9,#11)
and
A13(b9,#9,#11)
In a sense, each one of these chords is the same chord as the other and they can be played on as if that's true to one degree or another, dependent on skill and taste for it to be successful.
And when you use this scale on any of those chords there are no avoid notes, i.e. notes that sound like they *need to* resolve over the duration of that chord.
The same scale also contains all of the following triads and 7th chords:
C, Cm, Cdim, C7, Cm7, Cm7b5, Cdim7
Dbdim, Dbdim7
Eb, Ebm, Ebdim, Eb7, Ebm7, Ebm7b5, Ebdim7
Edim, Edim7
Gb, Gbm, Gbdim, Gb7, Gbm7, Gbm7b5, Gbdim7
Gdim, Gdim7
A, Am, Adim, A7, Am7, Am7b5, Adim7
Bbdim, Bbdim7
On Dbdim7, Edim7, Gdim7 and Bbdim7 we usually think of the whole-half version of this scale.
The half-whole version relates to dom7 chords mostly.
Hope that helps or is useful in some way.