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Passarim 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 F# to B (ascending perfect fourth), B to B (ascending unison), B to B (ascending unison), B to A# (descending half step), A# to A (descending half step), A to G# (descending half step), G# to G (descending half step), G to C# (ascending tritone), C# to F# (ascending perfect fourth), F# to E (descending whole step), E to E (ascending unison), E to A (ascending perfect fourth), A to D (ascending perfect fourth), D to F# (ascending major third), F# to G# (ascending whole step), G# to C# (ascending perfect fourth), C# to F# (ascending perfect fourth), F# to G# (ascending whole step), G# to C# (ascending perfect fourth), C# to F# (ascending perfect fourth), F# to D (descending major third), D to B (descending minor third), B to F# (descending perfect fourth), F# to G# (ascending whole step), G# to G (descending half step), G to F# (descending half step), F# to G# (ascending whole step), G# to C# (ascending perfect fourth), C# to F# (ascending perfect fourth), F# to B (ascending perfect fourth), B to E (ascending perfect fourth), E to A (ascending perfect fourth), A to D (ascending perfect fourth), D to D# (ascending half step), D# to G# (ascending perfect fourth), G# to C# (ascending perfect fourth), C# to C# (ascending unison), C# to C# (ascending unison), C# to D# (ascending whole step), D# to F (ascending whole step), F to A# (ascending perfect fourth). A half-step bass movement creates a strong leading-tone pull that demands resolution. The root motion by larger intervals (fourths and fifths) gives each chord change a strong, decisive character. When the progression loops, the bass returns from A# to F# by major third.
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.