A common barre technique involves using the pinky finger, which is essential for many pieces and allows for easier transitions between chords.

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.

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.

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 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.

The optimal left hand position for barre chords involves using your middle finger to oppose your thumb, creating a lever effect rather than pressing down hard with your index finger.

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

In measure 31, I use a middle finger bar to hold the E note while playing the chord progression.

To maintain a full range of motion while playing barre chords, position your thumb against your middle finger and rotate outwards instead of pressing your thumb and index finger together.