To effectively play a barre chord, press down beyond the sixth string to an imaginary seventh string, which helps in achieving better sound quality on the more complicated strings.

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.

A barre chord involves pressing down multiple strings with one finger, and you can start with a short barre over two strings or a full barre across all six strings.

When practicing barre chords, it's important to focus on which strings you actually need to press down, rather than pressing all the strings hard.

When starting to practice barre chords, approach it with a relaxed hand, lightly placing your finger on the strings to develop flexibility.

For the C Minor 7 chord, jazz guitarists often use a specific fingering that involves pressing with the pinky and ring fingers for comfort.

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 reach the upper A flat, I need to bend my index finger again while holding the chord.

When playing barre chords, avoid pulling back with your fingers, as this can lead to uneven pressure on the strings and limit your range of motion.