Circle of Fifths
It’s called the “CIRCLE OF FIFTHS” and if you use it, you’ll notice most of the songs you play follow it.
This chart is probably one of the most important things you’ll ever learn when it comes to playing and recognizing patterns. It’s also the second method in the transposition idea: circular approach. The first was chromatic approach, which had already been covered. So learning your scales, chords, and the likes in this approach will prepare you better for the journey ahead.
This chart basically organizes keys in 4ths and 5ths.
For example, you’ll see C at the very top. If you look to the right, you’ll see G, which is a 5th up from C. (You can also simply look at this as G being the 5th of C major). And it keeps going... D is the 5th of G major... A is the 5th of D... and so forth.
The REAL magic happens, however, when you go the OTHER DIRECTION. That is, from C to F to Bb to Eb and so on (like I illustrated below with the arrows).
THIS IS THE REAL FLOW OF MUSIC.
This chart is probably one of the most important things you’ll ever learn when it comes to playing and recognizing patterns. It’s also the second method in the transposition idea: circular approach. The first was chromatic approach, which had already been covered. So learning your scales, chords, and the likes in this approach will prepare you better for the journey ahead.
This chart basically organizes keys in 4ths and 5ths.
For example, you’ll see C at the very top. If you look to the right, you’ll see G, which is a 5th up from C. (You can also simply look at this as G being the 5th of C major). And it keeps going... D is the 5th of G major... A is the 5th of D... and so forth.
The REAL magic happens, however, when you go the OTHER DIRECTION. That is, from C to F to Bb to Eb and so on (like I illustrated below with the arrows).
THIS IS THE REAL FLOW OF MUSIC.
And I guarantee you, if you compare some of the songs you know, you’ll find a lot of movement in accordance with this circle of fifths chart. For example, a “2-5-1” is a common progression to end a song. You’ll find it at the end of almost EVERY song you play. (It’s that popular). In the key of C major, a “2-5-1” progression will use these bass notes: D - G - C.
Well... circle any three notes that are neighbors on this circle and there’s your 2-5-1!
Circle the keys of C, F, and Bb on the circle (remember... we’re going COUNTER-CLOCKWISE... the opposite direction of how a clock would tick). C, F, and Bb make up the keynotes of a “2-5-1” in the key of Bb major.
Well... circle any three notes that are neighbors on this circle and there’s your 2-5-1!
Circle the keys of C, F, and Bb on the circle (remember... we’re going COUNTER-CLOCKWISE... the opposite direction of how a clock would tick). C, F, and Bb make up the keynotes of a “2-5-1” in the key of Bb major.
Circle any other three neighboring notes, and you get the same result.
Those three notes make up a “2-5-1” chord pattern in the key of Db major. I mean, isn’t “Eb” the 2nd tone of the Db major scale? Isn’t “Ab” the 5th tone? Isn’t “Db” the 1st tone?
The circle of fifths simply does the work FOR YOU.
And this ties right into the previous section where we studied what chords work on each tone of the scale because once you figure out the keynotes for your “2-5-1,” just apply the right chords.
For example, if the Eb minor chord doesn’t sound right, I would probably try an Eb dominant 7 chord next as this would produce a more “bluesy” sound and sometimes you’ll find that occurring on the 2nd tone of the scale.
At the end of the day, your ear is the final judge.
The circle of fifths simply does the work FOR YOU.
And this ties right into the previous section where we studied what chords work on each tone of the scale because once you figure out the keynotes for your “2-5-1,” just apply the right chords.
For example, if the Eb minor chord doesn’t sound right, I would probably try an Eb dominant 7 chord next as this would produce a more “bluesy” sound and sometimes you’ll find that occurring on the 2nd tone of the scale.
At the end of the day, your ear is the final judge.
Remember this pattern we studied earlier? C - E - A - D - G – C? It is circular in nature. Most of it follows the circle of fifths pattern.
What if I told you most songs move in this same way? I can’t tell you if it’s exactly 80% of songs but I’ll estimate that majority of songs move in this SAME way --- circularly --- especially if they sound predictable and like you’ve heard them before. In fact, I think it’s more valuable to rearrange the notes of a major scale in fourths since songs are most likely to move in that direction.
So instead of thinking of the key of C major as: From C to D... D to E... E to F (basically the normal way of playing it: C D E F G A B C)
So instead of thinking of the key of C major as: From C to D... D to E... E to F (basically the normal way of playing it: C D E F G A B C)
Here’s another way to look at the major scale --- BUT THIS TIME, in the actual way most songs flow:
B – E – A – D – G – C – F
7 – 3 – 6 – 2 – 5 – 1 – 4
B – E – A – D – G – C – F
7 – 3 – 6 – 2 – 5 – 1 – 4
I know this is way different than you’re used to thinking about the scale... but basically, it’s the EXACT NOTES (nothing left out) but simply played in the same order as the circle of fifths.
When you learn every major scale this way (which isn’t hard because they all overlap), you’re already training your brain to think in this new musical direction. And since I estimate majority of songs move “CIRCULARLY” (in the same direction shown above), you are tapped into something that few musicians know or understand.
This flow never changes... C always leads to F...it does not matter what key you’re in. F always has a tendency to lead to Bb, no matter what key you are in.
FOURTHS are powerful. They keep their bonds in every key. Yes, they change roles. A “2-5-1” in one key is a “3-6-2” in another; and a “7-3-6” in another... but the flow is the same. And as you practice these patterns more and more, it will CLICK for you. And when it does, you better watch out! You’ll be a force to be reckoned with!
This flow never changes... C always leads to F...it does not matter what key you’re in. F always has a tendency to lead to Bb, no matter what key you are in.
FOURTHS are powerful. They keep their bonds in every key. Yes, they change roles. A “2-5-1” in one key is a “3-6-2” in another; and a “7-3-6” in another... but the flow is the same. And as you practice these patterns more and more, it will CLICK for you. And when it does, you better watch out! You’ll be a force to be reckoned with!