7's

Well I got that but I just got a ukulele and i can't get it to work right....

Russel, what do you mean by 1 to 4 in the key of d?

I would like to add there are several references to how a major scale is constructed in this forum it is based on intervals ( whole steps and half steps) I  I  I/2 1 1 1 1/2 or whole step, whole step,  half step, whole step, whole step whole step, half step C has no sharps or flats G has one(F#) sharp D has two sharps(F#and C#) A has 3 sharps (F#C#G#) etc... there are many references to all the keys with sharps and the order they appear as well as the flats

sorry if I confused you the original question was if C7 resolves to F what dose A7 resolve to and in this context C7 is the 5th step of F and A7 is the 5th step in D so F is the root of the key and A7 resolves to D or 5 to 1 all of the keys have the same formula and they all relate its either a cycle of 5ths or a cycle of 4ths it just depends on which direction you go.

I know how the resolutions work, was just confused by your reasoning.

Limiting oneself to the V7-I resolutions only apply if you're working exclusively in the major scale. In the mixolydian scale, you also have a dominant 7th chord on the tonic chord. If you're playing around with the blues scale (b3 and b7) you also have a dominant 7 chord on the IV.

I was only trying to explain what to more learned individuals take for granted the relationship of V to 1 not cover the entire spectrum of all the scales his question was basic.

It's an incredibly simple way to think about it.  Instead memorizing 77 (seven modes * 11 keys) different modal scales and their associated chord structures, you only need memorize one.   If you know how the major (Ionian mode) scale fits together, you know all the modes, too.  And if you can play them in one key, you can play them in all keys.

I'm not that smart.  I have to simplify everything or I'd get nothing done. 

I definitely think peoples brains work differently and that leads to different approaches.  For example, using your switch to the major and minor pent, I look at that simply as the same scale,  just resolving on a different note.  For example, if I can play A minor pent I can also play C major pent using the exact same pattern, just by starting on the second note of the A minor pent.   The modal relationship between the two keys makes that possible, and I don't have to learn anything new.

No.  Those chromatic tones are purely a matter of scale pattern, not the scale itself.  If you're running up between the II and II for example, it's going to be the same no matter where on the neck (what key) you play it. 

Fundamentally, you don't really even need to know you're playing major, minor, or modal scales if you can run the scale pattern all the way across and up the neck.  All you need to know is which tone you need to resolve to, and make sure your solo gets there at the right time.