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The scale degree chords of B-flat major are: Tonic – B-flat major; Supertonic – C minor; Mediant – D minor; Subdominant – E-flat major; Dominant – F major; Submediant – G minor; Leading-tone – A diminished
The first movement in B ♭-major, marked Allegro, opens with a series of fortissimo B ♭-major chords, which form much of the basis of the first subject. After the first subject is spun out for a while, the opening set of fortissimo chords are stated again, this time followed by a similar rhythm on the unexpected chord of D major. [24]
Often in the NNS, songs in minor keys will be written in the 6- of the relative major key. So if the song was in G minor, the key would be listed as B ♭ major, and G minor chords would appear as 6-. If a chord root is not in the scale, the symbols ♭ or ♯ can be added. In the key of C major, an E ♭ triad would be notated as ♭ 3.
The blues scale is so named for its use of blue notes. Since blue notes are alternate inflections, strictly speaking there can be no one blues scale, [8] but the scale most commonly called "the blues scale" comprises the minor pentatonic scale and an additional flat 5th scale degree: C E ♭ F G ♭ G B ♭ C. [9] [10] [11]
Ludwig van Beethoven's Rondo for Piano and Orchestra in B-flat major, WoO 6 was composed in 1793 and originally intended as the final movement for his second piano concerto. [1] Hans-Werner Küthen states this was probably the finale for the first and second versions of the second piano concerto, being replaced by the final version of the rondo ...
The A section starts with the right hand playing a soothing melody, and the left hand accompanying it with broken chords. The B section, which starts with the key of E-flat minor, plays a simple melody, then modulates to the original key with the B-flat major scale and then the E-flat major scale, then back to the A section.
In the first two bars, it uses a four-note sequence which drops by a third every half-bar. This period ends with a perfect cadence in dominant key of F major. The second period uses a fantasia style and alternates between chords and scale progressions. The coda in bar 20 uses an extended arpeggio in the tonic that confirms the key of B-flat major.
Piano Quartet in B-flat major (Saint-Saëns) Piano Sonata Hob. XVI/17; Piano Sonata Hob. XVI/18; Piano Sonata in B-flat major, K. 498a; Piano Sonata No. 3 (Mozart) Piano Sonata No. 7 (Prokofiev) Piano Sonata No. 8 (Prokofiev) Piano Sonata No. 11 (Beethoven) Piano Sonata No. 13 (Mozart) Piano Sonata No. 17 (Mozart) Piano Sonata No. 29 (Beethoven)
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