Is B# key possible? Cuz when i input e#, it works
Tia!
I don’t think so.
Jesper
You can create custom key signatures.
If I’m not mistaken, B# Major should look like this:
And I would recommend to avoid it absolutely 
Thanks lol
It’s a guaranteed way to get performers to avoid your work!
Looks like an example from the old “Threatening Music Notation” Twitter account, LOL! In all honesty, I hope this is for a theoretical exercise or something, and not to be performed. The CMN Extremes site only has an example of six sharps and one double sharp (G# major) listed so I would be surprised if this key sig has ever been used in published music.
Indeed 
So much for all those GQ- or Esquire-type style guides that advise how to “B(e) sharp and make it your signature look”… 
This semester I’m beginning Music Theory II. If I was to see that key signature I’d be pissed I had so spend so much energy to figure out what the composer was trying to say.
Not as key signature, but some composers go pretty far within their music: Bach (of course!) gets to E♯ minor in the C♯ major fugue of Wohltemperiertes Klavier I (note the A♯♯)
Prokofiew to Eâ™â™minor in Romeo & Juliet
In Verdi’s Otello there is an aria in Aâ™ minor (7 flats key signature), the beginning of Stravinsky’s Firebird is in Aâ™ minor as well. Again Verdi went to Eâ™â™ major in Macbeth (5 flats key signature)
Also Dâ™â™ minor is nice…
Any key is possible. But for piano, even though B# is a different pitch to C, the piano crushes them both into the same key. But it may make a valid difference for other instruments, if even a very fine distinction. But it is valid.
It might be valid as such. But you will probably never get a second performance of your piece if you use that key. Or not even a first performance. Of course a lot of composers music will never be performed by live musicians - a robot musician plays it without fault. ( Just my thoughts as amateur bassoon and serpent player, not really worth much)
@ghellquist There are modernist ensembles that will do this sort of thing, for example. Arditti. It’s not entirely out of the question. Don’t forget leading violinists said Beethoven’s Violin Concerto was unplayable.
The question in my mind remains: WHY? Just because one can does not mean that one should…IMHO. Unless one is writing in, or experimenting with, some sort of semi-tone instrument, B# is C. My string playing friends find the idea that they are different to be a perfectly frightening idea and my wind blown instrument friends feel much the same way. I suppose one might get away with them being slightly different with tuned timpani but those beautiful big bonging instruments don’t require perfectly pitched tuning to begin with… OK my rant against these being different pitches is over.
Well they are different pitches. Speak to anybody who tunes harpsichords and understands temperament.
For many people it is indeed.
For other many people in particular those having spent almost their entire life in the tonal system it isn’t.
Two examples;
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On a harp B# is played on the B string in ♯ position and C is played on the C string in ♮position.
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Those chords
representing G♯ major, Dâ™minor and A major are extremely hard to read because the classical-tonal brain is trained to capture chords instinctively by the steps of the proper key signature.
Some orchestras tune to 440Hz, others use 442Hz, and many other reference pitches. Most players have ways of playing in tune — fretless instruments (and trombone) can adjust their positions slightly, while wind instruments bend pitches with their embouchure. Keyboard players, unless the instrument is “properly tuned to reflect the difference, are stuck with the equivalent oddity! This begs the question, “Why?” If a composer really has that degree of pitch sense (I’ll not call it perfect pitch as there isn’t really a standard as to the 440Hz or other reference pitch), why not just inform the conductor and orchestra to tune to the required reference pitch and write for readability? Just because one can doesn’t mean one should.”
