I will demonstrate how to use the B half-whole diminished scale, an octatonic scale created by alternating half and whole steps, to create outside sonorities over the B7 chord while resolving back to F# minor. In jazz, over the B7 chord, we have a variety of altered tones including the root, flat nine, sharp nine, major third, sharp eleven, and flat five, which create tension before resolving back to the F sharp minor chord.

As I improvise over the chord progression, I will focus on one pentatonic scale at a time to highlight different aspects of the E major scale, creating varied flavors while staying within consonance.

Using C major pentatonic over the B7 chord can introduce interesting altered sounds, as it incorporates notes from the altered dominant scale while maintaining a coherent musical idea.

To achieve a contemporary color while remaining in E major, I will briefly explore the modes, starting with the Ionian mode and moving through Dorian, Phrygian, Lydian, Mixolydian, Aeolian, and Locrian modes.

Within E major, there are three pentatonic major scales: E major pentatonic, A major pentatonic, and B major pentatonic, each emphasizing different notes while remaining consonant.

When forming a B minor chord, you can start by pressing down only the fifth string and gradually add the first string to conserve energy.

The climax of the piece features minor seconds that create a sharp and harsh sound, but they are part of a nice chord progression.

The C sharp super locrian scale, which is the seventh mode of D melodic minor, contains many altered tones, making it suitable for creating an altered sound in improvisation.

Diminished chords, like the one in bar 78, often carry more tension, so I emphasize them to add strength and presence to the melody.