Theory in Simple Terms

[dvenetian]

Ever feel like you've suffered from a Brain-Freeze just trying to understand a little theory after reading the first few lines some music Professor wrote? It's like reading R2D2. The fact is that the theory section of this forum has the least threads to offer some stepping stones that could cause the light bulb to flicker for someone. Understanding theory is manditory for any type of serious musician, no matter what you play. Many players learn chord structures, certain scales and techniques but never grasp how they relate to the music they're playing. A friend of mine has been playing guitar for years and plays great, but doesn't understand why a simple chord progression would use a C Major, Dm, Em and G Major in a verse. His solos are weak to say the least because of it unless he's doing a copy and figures most notes by ear.
You should have some basic knowledge in music before diving into theory, like knowing the intervals to construct a Major scale. That's where it all begins.
Starting with the Major scale helps to understand how notes relate to each other. Theory is better understood from the start. Music starts and ends with the C Major because it contains no accidentals (no sharp or flat notes) which are C-D-E-F-G-A-B, a total of seven notes. Each note is numbered,
C-1, D-2, E-3, F-4, G-5, A-6, B-7. Every Major scale will contain 3 major notes, 3 minor notes and 1 diminished note and are always in the same order from the root note. 1-major, 2-minor, 3-minor, 4-major, 5-major, 6-minor and 7-diminished. So the 2nd note of C Major is Dm. Why? For the answer you must go back to the Major scale. Since the note is D we use the D Major scale. Notice the third note in D-Major is F#. Flatten the third note 1/2 step makes it F, causing D to become minor and F fits in the C-Major Scale. Try the other notes and it will help to understand what chord progressions and scales fit well together. I call it the OJ theory "If it doesn't fit, you must aquite" because it allows you to bend the rules sometimes.
Next up> The circle of fifths.

[Fret spider]

i agreee

i also feel anoyed the theory section is often empty. i always try to answer others questions, and be helpfull. personaly at my present development i dont have to many questions to ask as i feel i understand a lot more stuff than i am able to utilise whilst playin. mainly du to the fact i skipped learnin the notes o the fret board.

i am interested in howw to put more augmented and diminished 7 chords into my work though. or just how to aply diatonic theory in general.

[ren]

i am interested in howw to put more augmented and diminished 7 chords into my work though. or just how to aply diatonic theory in general.

Start another thread man... lets talk about it... :D

[strat-man]

Each note is numbered,
C-1, D-2, E-3, F-4, G-5, A-6, B-7. Every Major scale will contain 3 major notes, 3 minor notes and 1 diminished note and are always in the same order from the root note. 1-major, 2-minor, 3-minor, 4-major, 5-major, 6-minor and 7-diminished.

Do you mean notes or chords? i'm confused (easily done) i've just started learning theory and i thought that the major scale was constructed from tones? whole-whole-half-whole-whole-whole-half, and that the chords from the scale were major-minor-minor-major-major-minor-diminished? :confused:

[Fret spider]

if u take c majour it has the notes c d e f g a b

you can make chords out of any of these notes. but what is comonly done is called ading thirds

u take the first note, skip one take the second note skip one and takin the third note. then move one note up and do this again.

for example start on c

take c then skip d and get e and skipf and get g
so you have c e g these are the notes that make the c majour chord
start on d and do the same and you get d f a which is d minor
start on e and you get e g and b and you get e minor
start on f u get f a c which is f majour
start on g u get g b d which is g majour
start on a u get a c e which is a minor
start on b and you get b d f which is b minor b5 or b diminished


so you get the chords c majour, d minor, e minor, f majour, g majour, a minor, b diminished

[dvenetian]

Do you mean notes or chords? i'm confused (easily done) i've just started learning theory and i thought that the major scale was constructed from tones? whole-whole-half-whole-whole-whole-half, and that the chords from the scale were major-minor-minor-major-major-minor-diminished? :confused:
You are correct with the above. A note is a note. It is neither Major or minor
What decides that is the Third interval for both scales and chords.
Example: Many players use "Power chords" which are the 1st (Root note) and the Fifth note, so technically a Power chord is neither Major or minor because the third note is absent from the chord structure.
Fret Spider gave a great example of thirds, check out his post.

[Bluegrasslimey]

if u take c majour it has the notes c d e f g a b

you can make chords out of any of these notes. but what is comonly done is called ading thirds

u take the first note, skip one take the second note skip one and takin the third note. then move one note up and do this again.

for example start on c

take c then skip d and get e and skipf and get g
so you have c e g these are the notes that make the c majour chord
start on d and do the same and you get d f a which is d minor
start on e and you get e g and b and you get e minor
start on f u get f a c which is f majour
start on g u get g b d which is g majour
start on a u get a c e which is a minor
start on b and you get b d f which is b minor b5 or b diminished


so you get the chords c majour, d minor, e minor, f majour, g majour, a minor, b diminished

That is very interesting. Never thought of that in my playing. I love this board i am really getting a lot of great ideas and instruction from some talented people. One of the tricks i like to use in riff playing is running through the sharps and flats in a scale. That is playing consecutive frets eg 7,8,9 etc. Adds some interest to a riff. As for augmented and diminished chords, easier on a piano but add extra flavour to a piece but somewhat difficult to fit in unless i am playing Jazz. I am deffinitely going to look at that more seriously.

thanks guys.

[dvenetian]

Do you mean notes or chords? i'm confused (easily done) i've just started learning theory and i thought that the major scale was constructed from tones? whole-whole-half-whole-whole-whole-half, and that the chords from the scale were major-minor-minor-major-major-minor-diminished? :confused:
I like to learn things in segments, a chunk at a time if you will, rather than trying to consume the whole thing at once and choking on it. Theory is so complexed, I believe confusion is it's middle name. A piece at a time you might say. Now to the next level regarding your question(s) (there is a book that can be written from those two or three powerful little sentences you wrote). Even though I covered the note is a note, when you combine those notes with the intervals you listed above, the answer is yes I mean notes in the Major scale. The Diatonic makeup changes the value of each note by the order it is placed in the Major scale. The Root note is King (Super Tone, The Big Ionian Major Dog you might say) the other notes are given rank by Mr. Root by their tonal value to Root. Some are dominant, some pre-dom and some are just passive, Major chord doesn't even need em other than holidays.
Hell, one of the them had to be diminished down to nothing just to fit in, but has a few secrets on being heard.
To be clear, The Major, minor and diminished notes of the Major scale carry a title for their position in relation to the Root. Remember that all chords are constructed from scales and they are not the sole reason for each notes title. Every note in the scale has it's own opportunity in the spotlight after being assigned to a Mode of the Diatonic Scale. How that Mode compliments King Ionian and the neighbors, dictates it's title.
Hope that was more to the point. Back to the circle of Fifths.

[strat-man]

Ah, think i'm gettin it now, thanx for the help :)

[axemaster911]

I know what you mean when talking about the confusion created when too many complex terms are used to describe movements on the fretboard that are actually fairly simple progressions in practice. When trying to teach someone who wants to learn the reasoning behind the sounds it is best to put the principals behind the methods in the simplest possible terms, and reasonings, (without blowing the mind of the student). I mean there are alot of terminologys that just cant be left out for proper learning, but my goodness were not all PHDs in axeinology.
My light bulb went on when I learned the DIATONIC SCALE all throughout the neck," Top to Bottom, and understood that the scale is the same for all 12 keys, as a matter of a fact it is the key,(and the first thing you need to know is how to play in key). That is when your leads, and chord progressions will actually start sounding normal, and correct. If you are hitting a note that is not in this scale then you are actually playing out of key {ouch, that can hurt the ears} !!! unless your more advanced, and know whats up.
Its not really that hard, you start at the top of the neck, and learn your way down, of course after having a copy of the Diatonic scale layed out on a printed diagram of the fretboard in front of you for reference,(in the key of your choice), C Major if you like= C - D - E - F - G - A - B - C
/ ws-ws-hs-ws-ws-ws-hs /
Or A minor= A - B - C - D - E - F - G - A
/ ws-hs-ws-ws-hs-ws-ws /
It is my understanding that the Major scale has the intervals of a
whole step-whole step-half step-whole step-whole step-whole step-half
And the Minor scale has the intervals of-
whole step-half step-whole step-whole step-half step-whole step-whole step
It seems that there may be some confusion between minor scale, and flats, and sharps in the major scale from the statements I read above, but thats just me, I am not going to try and make this any more confusing than I possibly have too. But I do know that Major is the interval of ws-ws-hs,
and minor is the interval of ws-hs, and so on.
Just learning the diatonic scale can be the easiest way to start making sense of music theroy, and that is the cold hard truth in its simplest form !

[dvenetian]

This is why I like to take the next chunk of learning with the circle of fifths. It allows the light bulb to get a little brighter when you see how many notes in the diatonic scale are shared by the diatonic scale from the fifth note.
Example: the fifth of C is G. C Major and G Major share all the same notes but one (the seventh interval of G Major is F#). Since the C Major Chord is constructed from the 1st, 3rd and fifth notes of the C Major scale (C-E-G)
and G Major Chord is 1st, 3rd and fifth notes of the G Major scale (G-B-D). Notice how the G Major Chords 1st, 3rd and fifth notes are the fifth notes of the C Major chords 1st, 3rd and fifth notes. ( fifth of C is G, fifth of E is B and fifth of G is D). As you progress it will take more flattened or sharpened intervals to connect with C before reaching the furthest distance and returning back to close the gap.
Example: G Major has 1# note different from C Major (G-A-B-C-D-E-F#-G) And F Major Has 1b note different from C Major (F-G-A-Bb-C-D-E-F)
To flatten the 7th interval 1/2 step from the G major scale would change the F# to F. Adding that F note to the G Major Chord would create a G7 chord.
Playing that F note with the G Major Scale instead of the F# note would change the G Major scale (1-2-3-4-5-6-7)
to a G Mixolydian (1-2-3-4-5-6-b7) which also is the 5th mode of the C Major scale.

[Jolly McJollyson]

This is why I like to take the next chunk of learning with the circle of fifths. It allows the light bulb to get a little brighter when you see how many notes in the diatonic scale are shared by the diatonic scale from the fifth note.
Example: the fifth of C is G. C Major and G Major share all the same notes but one (the seventh interval of G Major is F#). Since the C Major Chord is constructed from the 1st, 3rd and fifth notes of the C Major scale (C-E-G)
and G Major Chord is 1st, 3rd and fifth notes of the G Major scale (G-B-D). Notice how the G Major Chords 1st, 3rd and fifth notes are the fifth notes of the C Major chords 1st, 3rd and fifth notes. ( fifth of C is G, fifth of E is B and fifth of G is D). As you progress it will take more flattened or sharpened intervals to connect with C before reaching the furthest distance and returning back to close the gap.
Example: G Major has 1# note different from C Major (G-A-B-C-D-E-F#-G) And F Major Has 1b note different from C Major (F-G-A-Bb-C-D-E-F)
To flatten the 7th interval 1/2 step from the G major scale would change the F# to F. Adding that F note to the G Major Chord would create a G7 chord.
Playing that F note with the G Major Scale instead of the F# note would change the G Major scale (1-2-3-4-5-6-7)
to a G Mixolydian (1-2-3-4-5-6-b7) which also is the 5th mode of the C Major scale.
Check your pm.

[dvenetian]

It is my understanding that the Major scale has the intervals of a
whole step-whole step-half step-whole step-whole step-whole step-half
And the Minor scale has the intervals of-
whole step-half step-whole step-whole step-half step-whole step-whole step
It seems that there may be some confusion between minor scale, and flats, and sharps in the major scale from the statements I read above, but thats just me, I am not going to try and make this any more confusing than I possibly have too. But I do know that Major is the interval of ws-ws-hs,
and minor is the interval of ws-hs, and so on.
Just learning the diatonic scale can be the easiest way to start making sense of music theroy, and that is the cold hard truth in its simplest form !
There are some interesting statements in the above quote that may help eliminate some confusion when studying theory in simple terms.
First off, Knowing the intervals that make up a scale should be understood as a formula or a pattern ( the same pattern works for all notes that you start the interval formula on, ie. Major formula= Major Scale of the Starting note, minor formula= minor scale, Harmonic minor formula = etc.....).
Theory teaches you how to understand the connection between certain notes (Major, minor, 7th's, etc...) and how they complement each other or don't.
Second, a scale (Major, minor, etc......) will never have both sharp and flat notes mixed in the same scale. It will be one or the other.
Although it is mainly used in Staff (reading music) the # or b note will be used to eliminate confusion.
Example: G, G# would not be written to avoid having 2 G's. It would be G,Ab.
Make sense?

[axemaster911]

There are some interesting statements in the above quote that may help eliminate some confusion when studying theory in simple terms.
First off, Knowing the intervals that make up a scale should be understood as a formula or a pattern ( the same pattern works for all notes that you start the interval formula on, ie. Major formula= Major Scale of the Starting note, minor formula= minor scale, Harmonic minor formula = etc.....).
Theory teaches you how to understand the connection between certain notes (Major, minor, 7th's, etc...) and how they complement each other or don't.
Second, a scale (Major, minor, etc......) will never have both sharp and flat notes mixed in the same scale. It will be one or the other.
Although it is mainly used in Staff (reading music) the # or b note will be used to eliminate confusion.
Example: G, G# would not be written to avoid having 2 G's. It would be G,Ab.
Make sense?


I try not to worry so much about what notes are being played, and concentrate more on staying within the diatonic pattern. I try to let my ear tell me what sounds good, and then when I have found the sound I like then write down the note structures in there lettered form for future reference. And when you get the key down pat even try incorporating chromatic notes out of the key for places where you might want to spice things up a bit.
Second it is my understanding that for example G#/Ab (which is after all is the same pitch) is G# if you are descending from G, or above, and Ab if you are ascending from A, or below. Therefore a scale can have sharps, and flats writen in the same piece of music depending on your direction of travel within the song.
If I am wrong on that set me straight, but I think learning the diatonic pattern in the key of your liking, and then playing around with note structures to find new crazy cool sounds is when the fun really begins!! :cool:

[dvenetian]

When putting a key signature in written form, the order of flats and sharps are dictated from the circle of fifths.
The order of flats are B-E-A-D-G-C-F. Going in the opposite direction the order of sharps are F-C-G-D-A-E-B.
To Clear up the # vs. b theory I'll try to give a better and more detailed example. This is referred to as the Diatonic function.
Example: a C# can't substitute for a Db, even though they are identical pitches, because a Db can serve as the third of a Bb minor scale/chord while a C# cannot and the C# can serve as the fifth degree of the F#Major scale while the Db cannot.
Here is the Bb Major scale: Bb-C-D-Eb-F-G-A
Here is the Bb minor scale: Bb-C-Db-Eb-F-Gb-Ab
Here is the F# Major scale: F#-G#-A#-B-C#-D#-E#
Here is the Gb Major scale: Gb-Ab-Bb-Cb-Db-Eb-F

The accidentals for each scale will either be all # or all b, not mixed.
look at the F# Major scale. Something seems strange... E#?????
F# Major is determined in Staff and marked with 6#'s. E# makes the 6th # and follows D#.
If F were used there would only be 5#'s and B Major has 5#'s so you wouldn't be able to determine between the two.

[axemaster911]

Wooh man, you may be right, but I try not to think that deep. It serves me best to keep it as simple as possible. :confused:

[dvenetian]

Kinda thought that was simple when trying to understand the relative order in Theory.

[axemaster911]

Kinda thought that was simple when trying to understand the relative order in Theory.


You made a good point, and I am curious to know how many players see this as an easy to understand subject, and how many dont quite grasp the circle of fifths throughout many different keys, and with respect to sharps vs flats?
This could clear things up for many players stumped on the subject.

[ren]

You made a good point, and I am curious to know how many players see this as an easy to understand subject, and how many dont quite grasp the circle of fifths throughout many different keys, and with respect to sharps vs flats?
This could clear things up for many players stumped on the subject.

I don't think I'd say that it's easy to understand, but once you get started with theory it all starts to fall in to place. I personally have never used the actual 'circle of fifths' in visual form, I've memorised the order of sharps/flats so I can tell you the key signature of a given key - not very useful day to day though...

As dvenetian says, some keys are sharp, and some are flat - so to be 'correct' when spelling a scale you'd need to use the option that fits with the key. Most of the time, if you don't know if it's a sharp or flat key, the easiest thing to do is never to use the same letter twice in a row (except in a blues scale where it can't be avoided) - so it would be A B C# D, not A B Db D...

I guess you can sum it all up with 'It's easy when you know how'...

[CSchlegel]

... I personally have never used the actual 'circle of fifths' in visual form ...
In my experience the single biggest reason guitarists have a hard time with the circle of 5ths is because it is hard to visualize on their instrument. Literally, it is hard to SEE.

This is because the guitar makes no physical, visual distinction between a natural letter note and a sharp or flat. It's just another fret - one up or down.

Compare this to the piano and immediately the difference becomes obvious. If you are playing in G major on a piano the only black key you see and, or play is the F-sharp. Because the piano has it's very distinctive pattern of white keys for naturals and black keys for sharps/flats it is easier to see and recognize accidentals and key signatures.

Another problem is that many guitarist simply refuse to learn how to read music. The more a player reads on a regular basis, the easier it becomes to understand, see, and use key signatures, and thus the circle of 5ths.

[Jolly McJollyson]

You made a good point, and I am curious to know how many players see this as an easy to understand subject, and how many dont quite grasp the circle of fifths throughout many different keys, and with respect to sharps vs flats?
This could clear things up for many players stumped on the subject.
Like most things one studies, theory has parts that are complex and parts that are simple. Personally I think of the circle of fifths as one of the simpler elements, and I agree with CSchlegel (I knew a David Schlegel once...any relation?) that theory is much easier to visualize on a piano, which ultimately makes it a little more difficult for guitarists.

[dvenetian]

So true. Guitar is one instrument that was designed with practically an invisible note structure that mainly relies on memory for position and patterns to master it. What fascinates me is the in-genius layout of that make this instrument function compared to the straight keys of a piano, for instance.
Using the circle of fifths theory in relation to guitar share some interesting connections. The notes used to formulate the order of flats/sharps are connected to A/440hz (standard tuning), combining pitch and fingering order to the frets.
It is possible to play all scales in every key using the first four frets of the guitar by the order that the notes (intervals) follow.
The notes @ the fifth fret are naturals (no #'s or b's) on all 6 strings. Notes low to high: A-D-G-C-E-A . Notice that the open string notes E-A-D-G-B-E are the perfect fifth of the 5th fret notes. Now look @ all the notes that are five frets apart ie., 12th fret and 7th fret, 9th & 4th , 7th & 2nd, etc......
This is a great way to reference important key notes and open the door to modulate between closely related keys and allow to transition smoothly with more distant ones.
The more you study the relationship between Tonic and the fifth degree it shows how perfect it is.

[axemaster911]

To be perfectly honest the circle of fifths Is something I have never quite understood, and im sure if properly explained it may shed light on alot of things, but what they are is still a mystery to me. And then how it can be applied to the fretboard is beyond me. As far as writing sheet music, and then sitting down and playing the guitar from sheet music is something I dont think happens to often. Most players play from memory, so tablature is in my opinion is most common for gutiarists who write down there creations.
And for me the diatonic scale laid out on a fretboard diagram I think is the easiest way for learning the note patters to study.
But I think a good common sense explanation of the circle of fifths function would most likely be beneficial to those who it could help, like me.
I'd like to understand it myself. :D

[dvenetian]

To be perfectly honest the circle of fifths Is something I have never quite understood, and im sure if properly explained it may shed light on alot of things, but what they are is still a mystery to me. And then how it can be applied to the fretboard is beyond me. As far as writing sheet music, and then sitting down and playing the guitar from sheet music is something I dont think happens to often. Most players play from memory, so tablature is in my opinion is most common for gutiarists who write down there creations.
And for me the diatonic scale laid out on a fretboard diagram I think is the easiest way for learning the note patters to study.
But I think a good common sense explanation of the circle of fifths function would most likely be beneficial to those who it could help, like me.
I'd like to understand it myself. :D
Let's start from the first step in understanding how the degree of notes relate.
Do you understand why G Major is the dominant of C Major? Or why C Major is the dominant of F Major?

[axemaster911]

Let's start from the first step in understanding how the degree of notes relate.
Do you understand why G Major is the dominant of C Major? Or why C Major is the dominant of F Major?

My key selections are dictated by open string notes. I find it very useful to choose a key that has all, or most of the open string notes in that key. It gives great sound dynamics, and ease of play, even when moving down to higher pitches. Key selection may also be dictated by the vocal range of the singer, but do I understand why one key is dominant over another, no. I am not even sure what you mean by dominant.
These principles you are trying to explain will be best grasped by those of use that are curious if you can find a way to show them in relation to the fretboard, and appeal to a wide range of skill levels. For that you effort im sure would be greatly appreciated. :cool:

[CSchlegel]

I am not even sure what you mean by dominant.
Start with a C major scale:

E|-------------------------------|
B|-------------------------------|
G|------------------4-5---------|
D|----------3--5--7-------------|
A|-3--5--7----------------------|
E|-------------------------------|
C--D--E--F--G--A--B--C

Label them all with normal numbers:
C = 1 (1st scale degree)
D = 2 (2nd scale degree)
E = 3 (3rd scale degree)
F = 4 (4th scale degree)
G = 5 (5th scale degree)
A = 6 (6th scale degree)
B = 7 (7th scale degree)

Build a chord (a triad sequence) on every note of the scale using only notes of the scale in the same pattern. I informally call this the "Leapfrog Principle" because you start on a note (C) and "leap over" the next note (D) to use the following note in building the chord (E). Leap again over the (F) and use the (G). Hence, the first chord is C-E-G.

C-E-G = 1-3-5 (the "1 chord") C major chord
D-F-A = 2-4-6 (the "2 chord") D minor chord
E-G-B = 3-5-7 (the "3 chord") E minor chord
F-A-C = 4-6-1 (the "4 chord") F major chord
G-B-D = 5-7-2 (the "5 chord") G major chord
A-C-E = 6-1-3 (the "6 chord") A minor chord
B-D-F = 7-2-4 (the "7 chord") B diminished chord

Notice that every chord has 3 notes - its own 1st, 3rd & 5th unto itself.

E|---------------------1--3-----|
B|-----------1--3--5--3--5-----|
G|-0--2--4--2--4--5--4--5------|
D|-2--3--5--3--5--7------------|
A|-3--5--7---------------------|
E|-----------------------------|
C--D--E--F--G--A--B--C

In music theory we use Roman Numerals to number the chords - usually, upper case for Major chords, lower case for Minor (and diminished). We also refer to the chords by these names which relate to their function in a chord progression:

I - "1 chord" is Tonic (or Root)
ii -"2 chord" is Sub-Dominant
iii - "3 chord" is Intermediate (or Mediant)
IV - "4 chord" is Sub-Dominant
V - "5 chord" is Dominant
vi - "6 chord" is Intermediate (or Sub-Mediant)
vii - "7 chord" is Dominant

(Therefore, a "dominant chord" is a chord built on the 5th note of a scale.)

This is an important point: every note in this listing has 2 separate and simultaneous functions.

1. Its position in the scale.
2. Its position in any given chord.

For example, the note C is the 1st note of the C major scale - the 1st scale degree. But it is also the 5th of the IV "4 chord" and the 3rd of the vi "6 chord".

I did an in depth post about the function of these chords in progressions here: http://www.guitartricks.com/forum/showpost.php?p=194962&postcount=4

[dvenetian]

My key selections are dictated by open string notes. I find it very useful to choose a key that has all, or most of the open string notes in that key. It gives great sound dynamics, and ease of play, even when moving down to higher pitches. Key selection may also be dictated by the vocal range of the singer, but do I understand why one key is dominant over another, no. I am not even sure what you mean by dominant.
These principles you are trying to explain will be best grasped by those of use that are curious if you can find a way to show them in relation to the fretboard, and appeal to a wide range of skill levels. For that you effort im sure would be greatly appreciated. :cool:
The post by CSchlegel is excellent!!! I encourage you to study it over and over and it will really help to grasp Key signatures and the relationship of chord structures. Once you're comfortable with the logic, apply the same pattern to the G MAjor scale ( notice that G is the fifth note in the C MAjor scale, so G is the dominant of C). The dominant note (fifth) will share 6 of the 7 notes from the root scale when the same intervals are used starting with the dominant note in the root position.
Example: C Major= C-D-E-F-G-A-B. G Major= G-A-B-C-D-E-F#.
The only difference Between C MAjor and G Major is F#.
Now let's take the intervals to create a G7 chord (aka dominant 7th chord)
1 (root)-3-5-7b. the 7b changes F# to F so the notes are G-B-D-F which makes a perfect fit with C where GMaj7 would not because it uses F# in it's chord structure.

[axemaster911]

Start with a C major scale:

E|-------------------------------|
B|-------------------------------|
G|------------------4-5---------|
D|----------3--5--7-------------|
A|-3--5--7----------------------|
E|-------------------------------|
C--D--E--F--G--A--B--C

Label them all with normal numbers:
C = 1 (1st scale degree)
D = 2 (2nd scale degree)
E = 3 (3rd scale degree)
F = 4 (4th scale degree)
G = 5 (5th scale degree)
A = 6 (6th scale degree)
B = 7 (7th scale degree)

Build a chord (a triad sequence) on every note of the scale using only notes of the scale in the same pattern. I informally call this the "Leapfrog Principle" because you start on a note (C) and "leap over" the next note (D) to use the following note in building the chord (E). Leap again over the (F) and use the (G). Hence, the first chord is C-E-G.

C-E-G = 1-3-5 (the "1 chord") C major chord
D-F-A = 2-4-6 (the "2 chord") D minor chord
E-G-B = 3-5-7 (the "3 chord") E minor chord
F-A-C = 4-6-1 (the "4 chord") F major chord
G-B-D = 5-7-2 (the "5 chord") G major chord
A-C-E = 6-1-3 (the "6 chord") A minor chord
B-D-F = 7-2-4 (the "7 chord") B diminished chord

Notice that every chord has 3 notes - its own 1st, 3rd & 5th unto itself.

E|---------------------1--3-----|
B|-----------1--3--5--3--5-----|
G|-0--2--4--2--4--5--4--5------|
D|-2--3--5--3--5--7------------|
A|-3--5--7---------------------|
E|-----------------------------|
C--D--E--F--G--A--B--C

In music theory we use Roman Numerals to number the chords - usually, upper case for Major chords, lower case for Minor (and diminished). We also refer to the chords by these names which relate to their function in a chord progression:

I - "1 chord" is Tonic (or Root)
ii -"2 chord" is Sub-Dominant
iii - "3 chord" is Intermediate (or Mediant)
IV - "4 chord" is Sub-Dominant
V - "5 chord" is Dominant
vi - "6 chord" is Intermediate (or Sub-Mediant)
vii - "7 chord" is Dominant

(Therefore, a "dominant chord" is a chord built on the 5th note of a scale.)

This is an important point: every note in this listing has 2 separate and simultaneous functions.

1. Its position in the scale.
2. Its position in any given chord.

For example, the note C is the 1st note of the C major scale - the 1st scale degree. But it is also the 5th of the IV "4 chord" and the 3rd of the vi "6 chord".

I did an in depth post about the function of these chords in progressions here: http://www.guitartricks.com/forum/showpost.php?p=194962&postcount=4

Thanks for the effort, many players can benefit from this post. And I guess thats why the root to the fifth power chord has such a dominant sound, thus the term dominant. :eek: Dont quote me on that ;)

[dvenetian]

With the thread focused on the Dominant note, this would be a good time to introduce Secondary Dominants ( CSchlegel will probably add some great insight to this topic, if we're lucky). His post introduced Roman Numerals and what they stood for, ie. V= Fifth and vi= sixth ( Capitols= Major and lowercase= minor). With that said, each note in a scale has it's own dominant note, for instance the C Major scale is C=I, d=ii, e=iii, F=IV, G=V, a=vi and b=vii. An example of a secondary dominant would be written as
"V of V" or V/V, which means the "fifth of the fifth". The fifth of C is G and the fifth of G is D, so "V of V" would be D. Again from the same C Major scale
"V of ii" or V/ii would be A because A is the fifth of D. etc......
If you're wondering what this has to do with anything? The answer is a lot.
The use of fifths does not have to be confined to the immediate key of a song. Take the song "Bell Bottom Blues" by Clapton: Chords are C-E7/B-Am.
The E7 chord uses G# which is not in the C Major scale. Also E is the iii, so it should be assumed as an Em chord. The trick is not to think of it as the iii but the V of vi (E is the fifth of A), creating an E dominant 7th chord. Using the dominant of a note is usually played in Major form.

[dvenetian]

changing keys in music has puzzled many players that are uncertain on how to make a smooth transition to the new key. Changing the key center is referred to as modulation and it can bring a fresh sound to a piece. Say you're in the key of D and you want to modulate to the key of A (the tonal center changes from D to A) one way to do this is to introduce the dominant chord (V chord) of the new key followed by the I chord of the new key. Better yet is to use the V7 chord (dominant 7th). For a smooth transition it is best to use a chord just before the V7 that belongs to both keys. this chord is referred to as the pivot chord.
Example: D-E7-A........D is a great pivot chord because it is also the IV of A and E7 is the V7 of A. Now you can start your progression in the key of A.
Another example that is common practice is to borrow a pivot chord from the parallel minor version of the key center. Say you're in the key of C and you want to modulate to the key of B. If you start the modulation with C-Em-F#7-B, you notice that Em is not in B Major, but it is in B minor, so it belongs to both keys. Em is the iii of C Major and the iv of B minor used as a pivot chord for F#7 to B. That's just a couple of ways to change keys.

[dvenetian]

Been getting some messages wondering how I got some of this Theory info to share. The big question is what made it click? When did you know that X+Y= MC2 in the Phrygian mode? When I started playing there were some Monster guitarists making their scene. A band called Mammoth was hitting the Hollywood Strip coming from Pasadena, CA, just killing it. So they changed their name and released their debut album called "Van Halen". Next thing you know is the guitarist from Quiet Riot quits the band to join Ozzy Osbourne as he releases his solo career from Black Sabbath called "The Blizzard Of OZ". Now Randy Rhoads is releasing his fury all over town. So my first 2+ years struggling to form an accurate chord progression and trying to add a pentatonic at best wasn't that impressive. This is before Metallica, but Judas Priest was kicking ass!!!!!!! And this new band from England named Iron Maiden was INSANE!!!!!!!!! My Pentatonic riffs seemed like a joke!!!!! Lucky for me there was another style of music beginning to Rise.. There was another monster guitarist from my local neighborhood that worked in a guitar shop in Garden Grove, Ca,.Named Mark Norton, who stated this new style wouldn't last. He Became Mark St. John and joined Kiss after Ace Frehley. You may recognize Garden Grove because bands like Sublime and The Offspring came from there later.
This new style of music was lead by Devo, The Police and The Cars to name a few, but I never got into it,until this 16 year old guitarist from Liverpool, UK opened my eyes to Harmonic intervals in such a perfect setting. His name is Paul Reynolds (probably 45 years old now)and when his structured style hit me like a ton of bricks,the lightbulb went on. His style was so simple that the effected progressions highlighted become addictive. You may laugh when you hear the Band, but I got laid every time I played that 16 year olds masterpiece. The Song is called Space age Love Song. Just listen to the Song and slide along the neck. You will find the intervals without using Tabs and see how Perfect intervals can compliment even the simplist things. The name of the band is Flock Of Seagulls. After the Space age love song gets you some action, the song I ran also has some simple but strong improvisations. All At 16 years old

[R. Shackleferd]

But I think a good common sense explanation of the circle of fifths function would most likely be beneficial to those who it could help, like me.
I'd like to understand it myself. :D
Not sure if the subsequent posts have helped you fully understand the circle yet, but this is one of the most straightforward explanations I've yet come across, along with how to visualize it and how it's useful:
Circle of 5ths lesson (http://www.zentao.com/guitar/theory/circle.html)

[dvenetian]

Here's an easy way to figure out what notes each chord will need to remain in key. Let's use the Key of A as an example.
The notes in the A Major scale are:
A-B-C#-D-E-F#-G#. From here we will make 7 chords in the Key of A. To do this we will take the 1st note (A), skip the next note (B), take the next note (C#), skip the next note (D) and take the next note (E). So we have the notes;
A-C#-E
Now we have our 1st chord. For the 2nd chord we will take the 2nd note (B) and follow the same skip/take pattern and continue doing this for every note, which will look like this:
1. A-C#-E
2. B-D-F#
3. C#-E-G#
4. D-F#-A
5. E-G#-B
6. F#-A-C#
7. G#-B-D
Every chord containing these notes are in the key of A. The name of the chords are as follows:
1. A
2. Bm
3. C#m
4. D
5. E
6. F#m
7. G#m/b5
Next post will explain how to determine each chord name.