Piano Guidance
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What key is the same as B?

B major Relative key G-sharp minor Parallel key B minor Dominant key F-sharp major Subdominant E major Component pitches 2 more rows

en.wikipedia.org - B major - Wikipedia
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Major scale based on B

This article is about the major scale B. It is not to be confused with Bei Maejor B major (or the key of B) is a major scale based on B. The pitches B, C♯, D♯, E, F♯, G♯, and A♯ are all part of the B major scale. Its key signature has five sharps. Its relative minor is G-sharp minor, its parallel minor is B minor, and its enharmonic equivalent is C-flat major.

The B major scale is:

Audio playback is not supported in your browser. You can download the audio file Although B major is usually considered a remote key (due to its distance from C major in the circle of fifths and fairly large number of sharps), Frédéric Chopin regarded its scale as the easiest of all to play on the piano, as its black notes fit the natural positions of the fingers well; as a consequence he often assigned it first to beginning piano students, leaving the scale of C major until last because he considered it the hardest of all scales to play completely evenly (because of its complete lack of black notes).[1] Few large-scale works in B major exist: these include Haydn's Symphony No. 46. The aria "La donna è mobile" from Verdi's opera Rigoletto is in the key, as is the "Flower Duet" from Lakmé. Brahms's Piano Trio No. 1, Op. 8, is in B major, though the piece ends in B minor. Brahms also wrote the slow movement to his Second Symphony in B major, as well as the fourth and last piece of the Ballades, Op. 10. The second movement of Beethoven's Piano Concerto No. 5 "Emperor" is in B major. The "Tuileries" movement from Mussorgsky's Pictures at an Exhibition is in the key. Tchaikovsky's Manfred Symphony in B minor ends in B major.

See also

References

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Why C flat instead of B?

If we called the semitone above Bb a B, that would be a chromatic semitone, which would be incorrect. Since the rule is that each individual note of a scale must have its own letter name, having the Gb major scale move from Bb to B would violate that rule. So C-flat is the correct note name to use.

The concepts in this blog post refer to Lessons 8 and 9 of the “Easy Music Theory with Gary Ewer” Course.

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When two notes sound like each other (like F# and Gb, for example), they are called enharmonic equivalents. Every note in an octave has several ways they can be named. The question is, why not just decide on one way to name a note, and leave it at that?

And especially, if a C-flat (i.e., the note one semitone below aC) is a B, why do we have the note C-flat at all?

Notes are usually named with reference to a key and scale. We know that to create a major scale, we start on a given note, and then ascend according to this pattern: Tone – Tone – Semitone – Tone – Tone – Tone – Semitone When we see “tone”, we mean whole tone. When we see “semitone”, we mean diatonic semitone. We use diatonic semitones when we create scales, because each individual note of a scale must have its own letter name. Using chromatic semitones would result in the possibility of two notes having the same letter name. The note C-flat occurs in several scales; the major scale of G-flat major, for example:

Gb-Ab-Bb-Cb-Db-Eb-F-Gb

The note C-flat occurs because it is a diatonic semitone above Bb. If we called the semitone above Bb a B, that would be a chromatic semitone, which would be incorrect. Since the rule is that each individual note of a scale must have its own letter name, having the Gb major scale move from Bb to B would violate that rule. So C-flat is the correct note name to use.

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