30,000 ft? Is this a reference to a 5 Mile High Highball 
? An alcoholic beverage if you’re being literal, or is it a different kind of high? 
Or is it a third meaning: The domain where dreamers dream: 30,000 feet 
?
Our ears can handle great heights, but we can’t build an airplane, name the parts, or define the math and science behind it in detail! I’m a Metrologist. I’ve worked for DoD, NIST & NASA. I’ve got a scientific mind and I’m a coder with a good ear. 
I’ve had a lifetime of technology & physics coupled with an emotional love affair with music and, a desire to play, and a logical desire to understand the theory. With only so many hours in a day, at 70, my only honest conclusion is: “I’ve forgotten more than I know!” 
Defining all sorts of Goodies!
Nice term: “In-Scale Notes” nails it pretty close. Davide says the chords define the scale and vice versa. I also know the chords define the mode and I think the mode can have a key 
, a word synonymous with scale. However, for clarity, the only key we should talk about is the one on an interface device because the concept is ambiguous at best when it comes to electronics and music. Scale is definitive, and a key is on your keyboard 
.
Defining Improv Binds
I think we want some kind of a new variant of “Passages.” Let’s call it “Improv” mode. Passages of a sort but without "playing or auto-playing note patterns. (what are Scaler Passages w/o auto-playing? Improvisation!)
Defining Binds
Chord Binding
Of course, on the keyboard, we’d want the first existing 8-note Improv chording (Scaler2)
Passages
Passages Binding is the 2nd or an optional 8-note Improv, or more chording.(Scaler2.9?)
Building a New Binding Features:
Improv Note Binding 
I think “Improv” is Passages without the auto-playing. Bound to chord patterns with individually bound keys! Improv should bind individual notes to the remaining available octaves, or in selected octaves selected and defined by octave ranges in the defining scales of the song) e.g., bass, melodic, baritone, tenor, etc. 
IOW it could use all the remaining keys for binding as one or through the creation of bind groups, like families. Grouped by “in scale”, Harmonic, Modal, Families or Groups of notes. Multi-choice (if the groups overlap, work together) or by family, if conceptually sound to theory.
The notes in Scale to be bound without be all notes viable & usable and In Scale, in mode, any notes or families of notes bound with playable defined as all theoretically viable groups bound by theory. I think this would be moving in the direction we want, right?
You said: “The rest of the entire unused keyboard could be assigned and bound to In Scale notes, Harmonic notes or all sorts of goodies we could select from.”
I’m just trying to understand how to say what the term “all sorts of goodies” means from a theoretical perspective! That’s where my theory fails me.
Defining Goodies: (I think this is the ultimate goal!) 
I know the notes are there, and my ear can tell me what works and what doesn’t, but I don’t know which part of music theory “goodies” falls under. Are they moving targets that depend on where the music moves: chords, scales, keys, modals, transitions? It’s possible “Goodies” can mean many, many things!
I know if I’m playing a chord with my left hand… I can hit every remaining note on the keyboard and say whether it sounds good. But I also know whether that note works depends on what notes come before, what notes come after, and where the notes are going. The ear can suffer many slights on the path to a worthy destination, but is it all defined in music theory? I don’t know.
My Conclusion
If we try to define rules that create goodies and during improv, a bound and defined note fails, where is the fault? Is it in the definition or the path to the destination? Rules do not create Genius. We seek theory rules to liberate the ear and restrain obvious, overt errors. Is it possible that we already have the best tool for that? The ear and a well-tuned instrument. I think we could do better, but I lack the theory. For now, it will have to be my ear and the ability to record improv, clean it up and save it!
PS: I’m burning out trying to define what I cannot. Thanks for your patience! 
)
Instead of the patterns he gives and shows us, which are plentiful, available and excellent in their own way, especially with orchestral compositions! We just need Scaler to map those viable note selections restricted by voice/range to the MIDI keyboard, which will let us pick the notes, make the patterns, and record or play them live if desired! Right? 
