Fly Me To The Moon in B

Fly Me To The Moon in B

B version of Fly Me To The Moon: a cycle-of-fourths progression (vi-ii-V-I) that swings effortlessly. Bebop Major handles the major chords; Mixolydian adds bluesy color over the dominants. Changes: G#m7 – C#m7 – F#7 – BMaj7 – EMaj7 – A#m7b5 – D#7b9 – G#7b9 – F#9 – F#7b9 – Bmaj9 – G#m9 – Edim7/c – A#m7 – D#7 – F#7/f – D#m7b5 – C#m7/g – B6 – A9 – A6 – A#6 – B69.

Fly Me To The Moon in 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 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 tritone), A# to D# (ascending perfect fourth), D# to G# (ascending perfect fourth), G# to F# (descending whole step), F# to F# (ascending unison), F# to B (ascending perfect fourth), B to G# (descending minor third), G# to E (descending major third), E to A# (ascending tritone), A# to D# (ascending perfect fourth), D# to F# (ascending minor third), F# to D# (descending minor third), D# to C# (descending whole step), C# to B (descending whole step), B to A (descending whole step), A to A (ascending unison), A to A# (ascending half step), A# to B (ascending half step). 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 B to G# by minor 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.