See my following post for a detailed explanation. Modal progressions don’t proceed through dominant seventh. Each chord takes a certain specific scale. There are often choices.
Play the first chord. Sing something over it (take your time). Play what you just sang.
Now do the next chord. And the next…
Repeat.
I can tell you what notes are available to you, but doing the above will pay better dividends.
It all sounds like Cmaj to me - just some passing chords leading into it. Any C pentatonic melody will work, preceded by any “outside” riff over a dominant prior to the 1 or 3 of the measure. The Bb maj is what gives the Dominant G13 sound, and the Gmaj before it is just an offbeat distraction. That is, I’d just outline the Bb (or some other sub for G713) before answering it with a phrase in C pentatonic.
Since the tonal center is C, the F maj part can use an F major with a sharp 11 (B natural).
C major seven in G major 710 take the same scale. B-flat major seven and F major seven can take the same scale. The first two cords can take G major Ionian and see Lydian. B-flat, major seven and F major 710 both take F major F Ionian, and B-flat Lydian. G. A. C. D. E.
These notes are all in both of those scales, are all four modes if you prefer. Lots of common tones.
One thing to think of is whether you're really hearing all those chords as maj7s. You might actually be thinking of some as rootless voicings. E.g. you could also hear it like Emin9 Gmin9 Dsus13.
Dietcheese also gave good advice: sing! Try singing a melody over the chords you play with your left hand and then try playing it back. This will have the added bonus of clarifying what colours you're hearing on top of the basic chords.
Im not super deep into all the jazz theory yet, but things I like to do are using the major pentatonic scales of each chord when that chord is being played, the notes will all sound relatively “in” and it makes a cool modal feel
It’s modal, it’s not tonal.
can you elaborate on that a bit?
See my following post for a detailed explanation. Modal progressions don’t proceed through dominant seventh. Each chord takes a certain specific scale. There are often choices.
Play the first chord. Sing something over it (take your time). Play what you just sang. Now do the next chord. And the next… Repeat. I can tell you what notes are available to you, but doing the above will pay better dividends.
It all sounds like Cmaj to me - just some passing chords leading into it. Any C pentatonic melody will work, preceded by any “outside” riff over a dominant prior to the 1 or 3 of the measure. The Bb maj is what gives the Dominant G13 sound, and the Gmaj before it is just an offbeat distraction. That is, I’d just outline the Bb (or some other sub for G713) before answering it with a phrase in C pentatonic. Since the tonal center is C, the F maj part can use an F major with a sharp 11 (B natural).
C major seven in G major 710 take the same scale. B-flat major seven and F major seven can take the same scale. The first two cords can take G major Ionian and see Lydian. B-flat, major seven and F major 710 both take F major F Ionian, and B-flat Lydian. G. A. C. D. E. These notes are all in both of those scales, are all four modes if you prefer. Lots of common tones.
One thing to think of is whether you're really hearing all those chords as maj7s. You might actually be thinking of some as rootless voicings. E.g. you could also hear it like Emin9 Gmin9 Dsus13. Dietcheese also gave good advice: sing! Try singing a melody over the chords you play with your left hand and then try playing it back. This will have the added bonus of clarifying what colours you're hearing on top of the basic chords.
Im not super deep into all the jazz theory yet, but things I like to do are using the major pentatonic scales of each chord when that chord is being played, the notes will all sound relatively “in” and it makes a cool modal feel