Hi jazznan, no offense taken. It's not something taken from a textbook, or one textbook in particular. It's just that I ran into sus4b9 chords a couple of times while playing with people, and after flubbing through them I was properly motivated to sit home and figure out some ways to play on them. I'd say half are from books or outside sources, half I figured out (any scale or mode of with the R b2 P4 b7 will work over that chord). The idea for playing the second mode of Harmonic Minor I got from transcribing Kurt's solo on Invitation.
I'm also a person who writes things down. This and many other things are taped my wall where I practice, to serve as reminders.
I'm not Rain Man and make all the scales appear in my mind the instant this or any other chord comes up, if that's what you were asking. But yeah that is how I think when I play, except I don't really think about Harmonic Major, because first I figured out that playing Mixolydian scale but flatting the 9th would give me the notes I wanted to hear sometimes on a V chord in a major key, only later to have someone tell me that theorists actually call this the 5th degree of the Harmonic Major scale, a scale I had never heard of. But I had already learned to play "Mixo b9", so that's what I go with. I also "discovered" the third mode of harmonic major works amazing over dominant chords in a minor key.
- Dorian b2 is easy. I know all my dorian scales well of course, and since I know what the b2 of any given tonal center is, having practiced mixo b9, it's easy just play that.
- Phyrigian is just a mode of the major scale, b2 b3 b6 b7...anyone worth their salt can recall all the major modes from all or almost all roots.
- The modes of harmonic minor I haven't gotten to a point yet where I can use them by just thinking about the degrees from the root (meaning when I play F harmonic minor over a C7 chord I still have to think "I'm playing F harmonic minor now", as opposed to "Let's play C with a b2, b6, b7")
- I practice the shit out of Whole Tone pentatonics.
- the sus4 b9 arpeggio I could whip out on only a couple roots at this point.
- The last one (Thanks to willmore for pointing out it being the fifth mode of Hungarian Minor, I always think of it a that as "F Arab" though because it sounds so damn middle eastern) I only know right now starting from F and C. It's easy to play a major scale from any root and flat the 2nd and 6th degrees, it's another to recall those notes instantly in the moment.
No, I'm not going to make a youtube video proving that I can play these scales because someone on a forum is calling me out. I don't know you and I've got nothing to prove to you. I'm only writing this long-winded post (and other long-winded posts on this forum for that fact) because explaining things to other people is the best way to clarify things in my own mind.
Yes, I actually use them, though I'm actually trying to use them less, meaning the goal is to have the sounds ingrained so instead of "what scale am I playing?" I can think "What sound do I want to hear?" and know the notes that will get me that sound. I don't know where you're at as a player, but unless you're still at a point where all the sounds you use come from recalling memorized fingering patterns, it really shouldn't be unbelievable that a person could use these things in their playing.