B minor
B minor is a minor scale in Western music theory, consisting of the pitches B, C♯, D, E, F♯, G, A, and B in its natural form.[1] Its key signature features two sharps—F♯ and C♯—and it serves as the relative minor of D major, sharing the same key signature.[1] This scale can be altered in harmonic and melodic variants, where the seventh degree (A) is raised to A♯ in the harmonic minor to create a stronger leading tone, and the sixth and seventh degrees are raised ascendingly in the melodic minor.[2] B minor evokes a somber, introspective mood in compositions, often associated with depth and emotional intensity due to its minor third interval from the tonic. Notable works in this key include Johann Sebastian Bach's Mass in B minor (BWV 232), a monumental choral masterpiece completed around 1749 that synthesizes Lutheran and Catholic traditions, influencing later composers like Beethoven.[3] Pyotr Ilyich Tchaikovsky's Symphony No. 6 in B minor, Op. 74 ("Pathétique"), premiered in 1893 just before the composer's death, is renowned for its tragic expressiveness and innovative orchestration.[4] Franz Schubert's Symphony No. 8 in B minor, D. 759 ("Unfinished"), composed in 1822, remains iconic despite comprising only two movements, exemplifying Romantic lyricism and structural daring.[5] Antonín Dvořák's Cello Concerto in B minor, Op. 104 (1895), draws on folk influences and personal grief, becoming a cornerstone of the cello repertoire with its poignant Adagio.[6] Franz Liszt's Piano Sonata in B minor, S. 178 (1853), a single-movement tour de force, revolutionized piano sonata form through its thematic transformation and virtuosic demands.[7] These pieces highlight B minor's versatility across Baroque, Classical, and Romantic eras, underscoring its enduring role in expressive musical narrative.Scale and Key Basics
Natural minor scale
The natural minor scale in the key of B minor is a seven-note diatonic scale that begins and ends on B natural, forming the Aeolian mode and serving as the foundational pitch collection for music in this key.[8] It consists of the pitches B, C♯, D, E, F♯, G, A, both ascending and descending, with no alteration between directions in the natural form.[9] The intervallic structure follows the pattern of whole step, half step, whole step, whole step, half step, whole step, whole step (or in semitones: 2-1-2-2-1-2-2), which creates its characteristic melancholic sound.[10] In comparison to the B major scale (B, C♯, D♯, E, F♯, G♯, A♯), the natural minor version lowers the third, sixth, and seventh scale degrees by a half step each—resulting in D (minor third), G (minor sixth), and A (minor seventh)—which distinguishes the minor tonality through its flattened mediant, submediant, and leading tone.[8] This relative minor scale shares the same key signature as D major, its relative major.[11] For piano performance in one octave, a standard fingering for the right hand ascending is 1 (B), 2 (C♯), 3 (D), 1 (E), 2 (F♯), 3 (G), 4 (A), 5 (B); the left hand typically uses 4 (B), 3 (C♯), 2 (D), 1 (E), 4 (F♯), 3 (G), 2 (A), 1 (B), noting that variations exist by pedagogical tradition.[12] On guitar in standard EADGBE tuning, a common position for the B minor scale spans frets 7-9 on the low E string (index on B at 7th, middle on C♯ at 8th, ring on D at 9th), shifting up the neck with the standard natural minor pattern—index-middle-ring-pinky across strings, such as index (1) on E at 7th fret of A string, middle (2) on F♯ at 8th, ring (3) on G at 9th, and pinky (4) on A at 10th—allowing efficient one-position play without excessive stretches.[11]Key signature and notation
The key signature of B minor consists of two sharps: F♯ and C♯.[1] These sharps alter the corresponding natural notes in the scale derived from the signature, resulting in the notes B, C♯, D, E, F♯, G, and A for the natural minor form.[13] In the treble clef, the F♯ sharp is placed on the top line of the staff, and the C♯ sharp is positioned in the third space from the bottom.[14] In the bass clef, F♯ appears on the fourth line from the bottom, with C♯ in the second space from the bottom.[14] For the alto clef, which centers on middle C, F♯ is on the bottom line (first line from the bottom), and C♯ is on the middle line (third line from the bottom).[14] In the tenor clef, F♯ is on the second line from the bottom, and C♯ is on the fourth line from the bottom.[14] When notating harmonic or melodic variants of B minor, additional accidentals are employed beyond the key signature. In the harmonic minor, the seventh scale degree is raised, introducing an A♯ accidental to create a leading tone. For the melodic minor, ascending passages typically feature sharps on both the sixth (G♯) and seventh (A♯) degrees, while descending lines revert to the natural form without these alterations, using accidentals or naturals as needed.[15] Historically, notation practices for B minor evolved from Baroque to modern eras, with earlier scores often relying on fewer implied accidentals in the signature for minor keys, placing more emphasis on explicit accidentals within the music to indicate chromatic alterations.[16] In contrast, modern notation consistently uses the full two-sharp signature for B minor, standardizing the diatonic framework and reducing ambiguity in performance.[17] B minor maintains a straightforward diatonic nature without common enharmonic equivalents that alter its notational representation, distinguishing it from keys like F♯ major (enharmonic to G♭ major) that involve signature trade-offs between sharps and flats.[18]Harmonic Elements
Diatonic triads
The diatonic triads in B minor are constructed vertically by stacking thirds on each degree of the natural minor scale, which comprises the pitches B, C♯, D, E, F♯, G, and A.[19] These triads are analyzed using Roman numerals, where lowercase letters denote minor chords, uppercase major chords, and a superscript degree symbol (°) indicates diminished quality. The following table summarizes the diatonic triads in B minor:| Scale Degree | Roman Numeral | Chord Symbol | Notes | Quality |
|---|---|---|---|---|
| 1 | i | Bm | B–D–F♯ | minor |
| 2 | ii° | C♯° | C♯–E–G | diminished |
| 3 | III | D | D–F♯–A | major |
| 4 | iv | Em | E–G–B | minor |
| 5 | v | F♯m | F♯–A–C♯ | minor |
| 6 | VI | G | G–B–D | major |
| 7 | VII | A | A–C♯–E | major |