O Que Será

O Que Será in B

Key of B

B major mixes barre and open elements. The B chord itself is a barre at fret 2, but E and A are comfortable open chords forming the IV and V. The open B string rings as the root, allowing creative drone-based arrangements. B is a intermediate-level key on guitar because the open B string rings as the root and the open E strings provide the 4th — useful for sus4 voicings and drone effects. This key mixes open and barre shapes, making it a good intermediate challenge that builds fretboard fluency.

Voice Leading

The bass line moves through B to B (ascending unison), B to B (ascending unison), B to B (ascending unison), B to F# (descending perfect fourth), F# to F# (ascending unison), F# to F# (ascending unison), F# to G# (ascending whole step), G# to E (descending major third), E to E (ascending unison), E to E (ascending unison), E to E (ascending unison), E to G (ascending minor third), G to G (ascending unison), G to C# (ascending tritone), C# to F# (ascending perfect fourth), F# to G (ascending half step), G to G (ascending unison), G to D (descending perfect fourth), D to A# (descending major third), A# to F# (descending major third), F# to E (descending whole step), E to B (descending perfect fourth), B to C# (ascending whole step), C# to A (descending major third), A to A (ascending unison), A to A (ascending unison), A to A (ascending unison), A to C (ascending minor third), C to C (ascending unison), C to F# (ascending tritone), F# to B (ascending perfect fourth), B to C (ascending half step), C to C (ascending unison), C to G (descending perfect fourth), G to D# (descending major third), D# to B (descending major third), B to C# (ascending whole step), C# to F# (ascending perfect fourth), F# to C# (descending perfect fourth), C# to C# (ascending unison), C# to C# (ascending unison), C# to D# (ascending whole step), D# to D (descending half step), D to D (ascending unison), D to G# (ascending tritone), G# to C# (ascending perfect fourth), C# to C# (ascending unison). A half-step bass movement creates a strong leading-tone pull that demands resolution. The predominantly stepwise bass motion creates smooth, connected voice leading. When the progression loops, the bass returns from C# to B by whole step.

Scales for Improvisation

B major pentatonic works because every note is either a chord tone or a safe passing tone — there are no avoid notes. For soloing, this means you can play freely without clashing. Over dominant seventh chords, B Mixolydian adds the flat seventh for an authentic blues-rock edge.