hi
thx for your interest!
Can I ask what scales / chord tones / substitutions you are visualising / thought processes / thinking about on the neck when you are playing?
Ok well thats an easy question to answer: i use all the things you have mentioned, starting from Major harmony to Minor (harmonic and melodic) i use the scales and modes and chords as a map in my mind so that i can build shapes over those shapes/scales.
i like bebop so if you look at that concept you will notice that it adds one extra chromatic note , there are quite a few books written about this, but mark levin covers most in the 'jazz theory book'
Are you mentally thinking to outline / connect each chord change?
not really outline but exploit the shapes and sounds that go with them. for example you can see on your fretboard all the scales and modes, chords you practise and then say if you have a line or shape or lick , you can see how it works harmonically. thats why you have to learn all your scales and modes and chords!
Are you thinking anything in terms of chord subs etc?
yes, if i have time in the solo and i play it through a few times i can start approaching a chord sequnce from a different place, one thing i love to do is instead of playing the 2 chord ( dorian mode or minor 7th chord) i think of it as a VI chord (aerolian and from there i can even stack underneath a phyrigian mode, (III chord ,minor 7th b9 ) or then go next to it and play a IV chord (lydian) because there are shapes that fit within those modes (chord scales). also i am trying to get away from modes, and play off the chords more, like real beboppers did, but thats another story
i hope that answers some questions, thats just how i approach things. Im probably wrong about most things so dont take everyting i say as gospel.
my main advice is listen to players and find out how you want to sound, then work out how to arrive to sound like that. if you put the work in then you will find it obvious how a particular player is pulling their way of playing off. but everyone has their own approach.
for example most players prefer melodic minor for minor II-V's but i prefer using harmonic minor, i can use melodic but what i like the sound and shapes that comes from the harmonic.
check out Carol Kay for some jazz theory, she really knows her stuff!
well thx for taing the time to listen, and let me know f you need anymore advice, i will try my best to help out!