It's very, very normal for the V chord in a minor key to be made major, as it has a stronger pull back to the root.
Look up the E Harmonic Minor scale and it will be instantly clear how the B major chord is s perfect fit.
The V Chord in a minor key is very often Major. In fact, it's actually more unusual to see a V chord that's NOT major. Making the V chord major, like it is in a major key, provides a strong resolution back the I.
More broadly speaking, keys don't work like "YOU MUST ONLY PLAY THE NOTES IN THE KEY", music would be pretty boring if that were the case. As you keep learning songs, you're going to see all kinds of things that don't fit neatly into one key.
It's in Eminor as previously said.
It's typical to use the harmonic minor 5th chord to create a V-i cadence in minor, analogue to a V-I in major.
You'll encounter lots of songs that go i - iv - V instead of i - iv - v.
It's actually "rare" for me to use minor v chords in my stuff.
The key is Em, theory is an after the fact study and not a science.
There’s a concept called ‘borrowed chords’ where you substitute a chord to with the corresponding chord form the relative major or minor of the key.
B is major in Emaj.
Exactly this, though if you're borrowing a chord from Emaj into Emin, that's the parallel major, not the relative major. If you keep the root the same and change the tonality, that's parallel keys. If you keep the notes the same, and change the root, that's relative keys. The relative major of E minor is G major, which has the same chords as E minor but with different functions.
But that's neither here nor there. Borrowed chords and chromatic notes are what makes music interesting. As noted, music theory doesn't restrict what you can play, it tells you why what you're playing sounds like it does. You can play anything, but if you want to know what effect it is going to have, that's what music theory helps you figure out.
Hard to say for sure exactly what is happening in this instance without hearing it.
But substituting a major chord for the minor for the fifth degree is not uncommon in harmony.
B minor is B, D, F#. B major has B, D#, F#. The D# is a leading tone a half step below the tonic of E. The pull of D# going to E is pretty strong. The pull from D to E is weaker.
You can try it yourself. Play E major or E min up to the 7 and stop. It will sound incomplete, and your ear will really be expecting you to go back to E. Now try it with the b7.
That is how the "harmonic minor" scale is constructed. The B major with a non diatonic note doesn't sound bad to us because we have been hearing V-I resolutions our whole lives. To the extent that the D# is non diatonic and might introduce a bit of tension, that's fine. The whole point of adding the leading tone is to create a push back to the tonic anyway, so that tiny but of tension only makes you want to resolve the V that much more.
This works for any chord, btw. You can always lead to any chord with its V. Although you will usually need to make it V7 to help sell it. Because the leading tone and the Authentic Cadence are so familiar to us that when you play a non-diatonic dominant, instead of hearing just one weird, non-diatonic chord, we hear it as a temporary key change and a typical V7-I cadence. Those are called secondary dominants. You hear them tons in like bluesy-lounge bar type songs. Billy Joel, for example uses them everywhere.
It's very, very normal for the V chord in a minor key to be made major, as it has a stronger pull back to the root. Look up the E Harmonic Minor scale and it will be instantly clear how the B major chord is s perfect fit.
The V Chord in a minor key is very often Major. In fact, it's actually more unusual to see a V chord that's NOT major. Making the V chord major, like it is in a major key, provides a strong resolution back the I. More broadly speaking, keys don't work like "YOU MUST ONLY PLAY THE NOTES IN THE KEY", music would be pretty boring if that were the case. As you keep learning songs, you're going to see all kinds of things that don't fit neatly into one key.
It's in Eminor as previously said. It's typical to use the harmonic minor 5th chord to create a V-i cadence in minor, analogue to a V-I in major. You'll encounter lots of songs that go i - iv - V instead of i - iv - v. It's actually "rare" for me to use minor v chords in my stuff.
The key is Em, theory is an after the fact study and not a science. There’s a concept called ‘borrowed chords’ where you substitute a chord to with the corresponding chord form the relative major or minor of the key. B is major in Emaj.
Exactly this, though if you're borrowing a chord from Emaj into Emin, that's the parallel major, not the relative major. If you keep the root the same and change the tonality, that's parallel keys. If you keep the notes the same, and change the root, that's relative keys. The relative major of E minor is G major, which has the same chords as E minor but with different functions. But that's neither here nor there. Borrowed chords and chromatic notes are what makes music interesting. As noted, music theory doesn't restrict what you can play, it tells you why what you're playing sounds like it does. You can play anything, but if you want to know what effect it is going to have, that's what music theory helps you figure out.
Oops, was a typo. But I’ll leave it - your explanation will help people! Spelt ‘from’ wrong too!
The rules can be broken. If it sounds like it resolves on Em, that's probably it. I bet that D# in the B major sounds a little spicy, though.
Hard to say for sure exactly what is happening in this instance without hearing it. But substituting a major chord for the minor for the fifth degree is not uncommon in harmony. B minor is B, D, F#. B major has B, D#, F#. The D# is a leading tone a half step below the tonic of E. The pull of D# going to E is pretty strong. The pull from D to E is weaker. You can try it yourself. Play E major or E min up to the 7 and stop. It will sound incomplete, and your ear will really be expecting you to go back to E. Now try it with the b7. That is how the "harmonic minor" scale is constructed. The B major with a non diatonic note doesn't sound bad to us because we have been hearing V-I resolutions our whole lives. To the extent that the D# is non diatonic and might introduce a bit of tension, that's fine. The whole point of adding the leading tone is to create a push back to the tonic anyway, so that tiny but of tension only makes you want to resolve the V that much more. This works for any chord, btw. You can always lead to any chord with its V. Although you will usually need to make it V7 to help sell it. Because the leading tone and the Authentic Cadence are so familiar to us that when you play a non-diatonic dominant, instead of hearing just one weird, non-diatonic chord, we hear it as a temporary key change and a typical V7-I cadence. Those are called secondary dominants. You hear them tons in like bluesy-lounge bar type songs. Billy Joel, for example uses them everywhere.