B minor

In today's world, B minor has become a topic of great relevance and interest to people in different areas of society. From the academic field to the workplace, B minor has generated debates, reflections and analyzes that have influenced the way we make decisions, relate to others and perceive the world around us. In this article, we will explore different perspectives and opinions about B minor, with the aim of offering a comprehensive and balanced view on this complex and fascinating topic.

B minor
{ \magnifyStaff #3/2 \omit Score.TimeSignature \key b \minor s16 \clef F \key b \minor s^"" }
Relative keyD major
Parallel keyB major
Dominant keyF-sharp minor
Subdominant keyE minor
Component pitches
B, C♯, D, E, F♯, G, A

B minor is a minor scale based on B, consisting of the pitches B, C♯, D, E, F♯, G, and A. Its key signature has two sharps. Its relative major is D major and its parallel major is B major.

The B natural minor scale is:

\header { tagline = ##f } scale = \relative b { \key b \minor \omit Score.TimeSignature b^"B natural minor scale" cis d e fis g a b a g fis e d cis b2 \clef F \key b \minor } \score { { << \cadenzaOn \scale \context NoteNames \scale >> } \layout { } \midi { } }

Changes needed for the melodic and harmonic versions of the scale are written in with accidentals as necessary. The B harmonic minor and melodic minor scales are:

\header { tagline = ##f } scale = \relative b { \key b \minor \omit Score.TimeSignature b^"B harmonic minor scale" cis d e fis g ais b ais g fis e d cis b2 } \score { { << \cadenzaOn \scale \context NoteNames \scale >> } \layout { } \midi { } }
\header { tagline = ##f } scale = \relative b { \key b \minor \omit Score.TimeSignature b^"B melodic minor scale (ascending and descending)" cis d e fis gis ais b a! g! fis e d cis b2 } \score { { << \cadenzaOn \scale \context NoteNames \scale >> } \layout { } \midi { } }

Christian Friedrich Daniel Schubart (1739–1791) regarded B minor as a key expressing a quiet acceptance of fate and very gentle complaint, something commentators find to be in line with Bach's use of the key in his St John Passion.[1] By the end of the Baroque era, however, conventional academic views of B minor had shifted: Composer-theorist Francesco Galeazzi (1758–1819)[2] opined that B minor was not suitable for music in good taste. Beethoven labelled a B-minor melodic idea in one of his sketchbooks as a "black key".[3]

Scale degree chords

The scale degree chords of B minor are:

Notable compositions in B minor

See also: List of symphonies in B minor

See also

References

Notes

  1. ^ Tusa 1993, pp. 2–3, n. 5.
  2. ^ Galeazzi 1817, p. [page needed].
  3. ^ Tusa 1993, p. 2, n. 3.

Sources

  • Galeazzi, Francesco (1817). Elementi teorico-pratici di musica con un saggio sopra l'arte di suonare il violino analizzata, ed a dimostrabili principi ridotta. Ascoli. See also Francesco Galeazzi, The Theoretical-Practical Elements of Music, Parts III and IV; English translation, with introduction and commentary, by Deborah Burton and Gregory W. Harwood (Champaign, Illinois: University of Illinois Press, 2012); ISBN 978-0-252-03708-5.
  • Tusa, Michael C. (1993). "Beethoven's 'C-Minor Mood': Some Thoughts on the Structural Implications of Key Choice". In Christoph Reynolds (ed.). Beethoven Forum. Vol. 2. Lincoln: University of Nebraska Press. ISBN 978-0803239098.
  • Media related to B minor at Wikimedia Commons