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T - ET 1 Circle of Fifths

Chapter 4 discusses the circle of fifths, which organizes all twelve major keys in a circular format where each key is separated by a perfect fifth. As one moves clockwise, the number of sharps increases, while moving counterclockwise increases the number of flats. The chapter also explains the relationship between the keys and the intervals that define them, emphasizing the significance of perfect fifths in music theory.

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5 views2 pages

T - ET 1 Circle of Fifths

Chapter 4 discusses the circle of fifths, which organizes all twelve major keys in a circular format where each key is separated by a perfect fifth. As one moves clockwise, the number of sharps increases, while moving counterclockwise increases the number of flats. The chapter also explains the relationship between the keys and the intervals that define them, emphasizing the significance of perfect fifths in music theory.

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merrr
Copyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
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Download as PDF, TXT or read online on Scribd
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Chapter 4

Circle of Fifths
The circle of fifths contains all twelve major keys arranged in such a way that the key center of
each is separated by an interval of a perfect fifth. Moving clockwise through the circle, the
keys ascend in perfect-fifth intervals. Moving counter clockwise, the keys descend in perfect-
fifth intervals.

Figure 4.1 - The circle of fifths, with major keys listed outside with capital letters,
and relative minor keys listed in the inner circle with lower case letters.
C

F G

1 sharp

1 flat
BH D
a
d e 2 sharps

2 flats
g b

EH 3 flats c fG 3 sharps A

f cG
4 flats aG gG
dG aH
bH
eH 4 sharps
AH 5 flats 7 flats E
6 flats

7 sharps 5 sharps
6 sharps
CG B
DH CH
FG
GH
Each letter class represents the tonic of a major scale (or key center of a major key). The
number of sharps and flats contained in each key is written for clarity. Notice as we move
clockwise from C, the number of sharps in each succeeding key increases by one. The key of C
has no sharps or flats, the key of G has one sharp (FG), the key of D has two sharps (FG and CG),
and so on. As we move counter clockwise from C, the number of flats in each succeeding key
increases by one. The key of F has one flat (BH), the key of BH has two flats (BH and EH) and so
on.

Notice as we move clockwise from C, the pitch that has to be altered to create the G-major
scale is the F (F becomes FG). Then, as we continue to the key of D major, FG is again present
and the new pitch requiring a sharp is the pitch C (C becomes C#). This is why the order of
sharps in the key signature starts with F, then C. Also, notice they are a perfect fifth away from
each other.

We have been introducing scales that are a prefect-fifth interval away from the previous and
following scale. (The pitch “G” from the G-major scale is the fifth degree of the C-major scale,
the pitch “D” from the D-major scale is the fifth degree of the G-major scale, and so on).
Remember that an interval is the distance between two pitches and the distance from the first
note of a major scale to the fifth note of that same scale is an interval of a perfect fifth.

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