Theory in Simple Terms

Originally Posted by: axemaster911You 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.

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.

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

Originally Posted by: axemaster911To 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?

Originally Posted by: dvenetianLet'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:

Originally Posted by: axemaster911I 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

Originally Posted by: axemaster911My 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.

Originally Posted by: CSchlegelStart 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 ;)

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.

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.

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

Originally Posted by: axemaster911But 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

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.