B major

{{pp-semi-indef|small=yes}}

{{short description|Major scale based on B}}

{{About-distinguish|the major scale B|Bei Maejor}}

{{Infobox musical scale

| name=B major
{ \magnifyStaff #3/2 \omit Score.TimeSignature \key b \major s16 \clef F \key b \major s^"" }

| relative=G-sharp minor

| parallel=B minor

| enharmonic=C-flat major

| dominant=F-sharp major

| subdominant=E major

| first_pitch=B

| second_pitch=C{{Music|sharp}}

| third_pitch=D{{Music|sharp}}

| fourth_pitch=E

| fifth_pitch=F{{Music|sharp}}

| sixth_pitch=G{{Music|sharp}}

| seventh_pitch=A{{Music|sharp}}

}}

B major is a major scale based on B. The pitches B, C♯ (musical note), D♯ (musical note), E, F♯ (musical note), G♯ (musical note), and A♯ (musical note) 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:

{{block indent|

\header { tagline = ##f }

scale = \relative b { \key b \major \omit Score.TimeSignature

b^"B natural major scale" cis dis e fis gis ais b ais gis fis e dis cis b2 \clef F \key b \major }

\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 major and melodic major scales are:

{{block indent|

\header { tagline = ##f }

scale = \relative b { \key b \major \omit Score.TimeSignature

b^"B harmonic major scale" cis dis e fis g ais b ais g! fis e dis cis b2 \clef F \key b \major }

\score { { << \cadenzaOn \scale \context NoteNames \scale >> } \layout { } \midi { } }

}}

{{block indent|

\header { tagline = ##f }

scale = \relative b { \key b \major \omit Score.TimeSignature

b^"B melodic major scale" cis dis e fis gis ais b a g fis e dis cis b2 \clef F \key b \major }

\score { { << \cadenzaOn \scale \context NoteNames \scale >> } \layout { } \midi { } }

}}

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).{{cite book |author-link=Jean-Jacques Eigeldinger |last1=Eigeldinger |first1=Jean-Jacques |last2=Shohet |first2=Naomi |title=Chopin: Pianist and Teacher: As Seen by His Pupils |publisher=Cambridge University Press|year=1988 |page=34 |isbn=9781316101605 |url=https://books.google.com/books?id=tl2sAwAAQBAJ&pg=PT34 }}

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. Schubert's Piano Sonata, D. 575 and Dvořák's Nocturne Op. 40 are in B major. 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. The Finale from Igor Stravinsky's Firebird Suite is also in this key.