D minor pentatonic (as the 7th is not defined, Pat smartly used D minor pentatonic as if the chord were dominant giving a 9# tension)
D/C
D major scale (using 9# as chromatic passing tone)
Bbmaj7
A minor pentatonic scale (one more time lydian intention)
Single note C# G/A
(c# over G/A chord introduces the 5b tension – actually Pat suggests a change in the harmony as if the transition chord between Bmaj7 and Gmaj7 were A7(11) – try this harmony!)
Gmaj7
(again lydian intention – however, when descending a pentatonic scale, Pat uses a fast passage over a C natural single note changing suddenly to ionian mode)
D major scale
Notes from F major scale Bbmaj7(11#)
(lydian intention) Obs: Pat plays a F# note because it doesn't disrespect de b9 rule as de chord has a flatten 5th.
A minor pentatonic scale (lydian intention)
D
A minor pentatonic (as if the chord were dominant in G major)
