Whole Tone Scales

I’m going to start by saying that whole tone scales are unlike any other discussed so far.  They are made up solely of whole tone intervals which results in 6 note scales which we tend to play in any sequence.  This means there are only 2 whole tone scales which are separated by a semi-tone.  Additionally this means they don’t have a fixed Key.
So you may be wondering what is the point of them – well, if you want your music to sound unpredictable, then these are for you, especially if you add in a large dollop of syncopation.  I haven’t used them very often, I tend to find them a bit unsettling.  So I guess they’re kind of like the H P Lovecraft of scales.
If we start with an E note and move in whole tones, we get  E  F#  G#  A#  C  D
Compared to the major scale  : E F# G# A B C# D# E this gives us 1, 3, b5, #5, b7, 9  (It’s probably better to consider the F# as a 9 rather than a 2)
If we start a semi-tone higher at an F note and move in whole tones, we get  F  G  A  B  C#  D#
Compared to the major scale : F G A Bb C D E  this again gives us 1, 3, b5, #5, b7, 9
This means they tend to be used over dominant chords with a b5 or #5 (or both).  Typically a dominant 7 chord will be used.  A dominant 9 can be used but they are not that common.
The reason I started with an E note rather than a C note is that it makes them very easy to play on a single string (audio here):
We can then move this pattern up a semi-tone to give us the F version (audio here).
Example chords to play over are an E9b5 chord (could also be called a Bb7 b5#5) and we can use the notes E F# G# A# C D E in any sequence we like so that we are not really determining a Key.  An example pattern is shown below the chord (audio here):
Chords 2-page0001 - Copy
A more common chord is D7b5:
Chords 2-page0001
Example patterns are shown below (audio here):
and also a second pattern (audio here):
If we transpose these chords up or down a semi-tone then the notes from the ‘F’ example will fit over the top of them.