Progressions in B — Oud

B major harmonises to B – C#m – D#m – E – F# – G#m – A#°; B minor to Bm – C#° – D – Em – F#m – G – A. Each chord links to its Oud voicings, so a change in B becomes a short list of positions rather than a search.

This diatonic table is Western tertian theory, laid over an instrument whose own repertoire leans on maqam more often than on chord changes — a useful map when the oud sits in a mixed ensemble, and honestly labelled as a borrowed lens rather than the instrument's native one.