Utility Fifth Cycle (I)
by Mark Senabre
The cycle of fifths is a very powerful tool. No matter the style in which touch or your level of knowledge, its applications are so varied and so useful for everyday life of the musician that you have no excuses.
All you have to do is to understand its logic and machining. Let's begin:
If you measure the distance between the notes I gave you, you'll see that it is constant: all the notes are at a distance of seven semitones (three tones and a half). That distance is what is known as "perfect fifth interval" (the note G is a distance of one fifth of C, the note D is a distance of one fifth of G, the note A is a distance of one fifth of D, and so on).
Each new note is a distance of one fifth of the previous, forming a cyclic sequence. That is why we call it the "cycle of fifths"
C, G, D, A, E, B, Gb, Db, Ab, Eb, Bb, F ... C, G, D, A, E, B, Gb, Db, Ab, Eb, Bb, F ... Repeat lists the number of times as necessary. Within minutes you've got to keep her in your memory, and if you do for a couple of days at most likely will not ever forget.
Think this is a tool. In your work as a musician you should use it quickly and mechanized, so you need to hold it in your memory: it is not enough to understand the logic.
It should also memorize the list in reverse. In this way you will be memorizing the cycle of fourths (F is the fourth in C, and so on).
Thanks to the cycle of fifths you know what notes make up a larger scale.
Think what it would take if you had to go on counting the tones and semitones every time you raise the need to know what notes have a scale: Cycle helps as mnemonic tool to deduct the notes that have a larger scale.
Let's start with the basics. You should know:
1. All major scales have seven notes, which are C, D, E, F, G, A, B, with or without alterations. Therefore,
a) no note is repeated on a larger scale (there is a larger scale such as: C, D, E, F, F # ...)
b) will not miss any of the seven notes (there is a larger scale such as: C, D, E, F, A, B ..., which lacks the note G).
2. That no larger scale than at the same time have sharps and flats (there is no large scale such as: C, D, E, F #, G, A b, B)
.
Deducting ALTERATIONS:
The only larger scale without changes (no sharps or flats) is that of C. Know her very well:
C, D, E, F, G, A, B (has 0 changes)
Following the list of the cycle of fifths, the note C would be going behind G. Look at the G major scale:
G, A, B, C, D, E, F # (has one alteration: F #)
The note that follows G in the cycle of fifths is D. Look at the D major scale:
D, E, F #, G, A, B, C # (it has two changes: F # and C #)
The D note following the cycle of fifths is A. How many changes do you see the major scale of A?
Indeed, it has three changes: F #, C # and G #.
The order of the notes in the cycle of fifths has something to do with the number of changes that will have the scale, as these accumulate. As to which are specifically altered notes: would you know to predict with the already seen, what would be the altered notes in the scale of E major?
One trick to respond without thinking is to consider the new change is always a semitone below the tonic. Thus, to predict changes in the scale of E major, just give me the 3 changes the previous scale (F #, C #, G #) by adding the note D # (which is the one that is a semitone below the tonic .)
The table below you will see the pattern alterations following:
|
MAJOR CHANGES IN THE SCALES: | |||||
Sustained | Flats | ||||
Scale: | N º: | Notes: | Scale: | N º: | Notes: |
C major | 0 | - | C major | 0 | - |
G Major | 1 | F # | F major | 1 | Bb |
D major | 2 | F #, C # | Bb major | 2 | Bb, Eb |
The higher | 3 | F #, C #, G # | Eb major | 3 | Bb, Eb, Ab |
E major | 4 | F #, C #, G #, D # | Ab major | 4 | Bb, Eb, Ab, Db |
B more | 5 | F #, C #, G #, D #, A # | Db major | 5 | Bb, Eb, Ab, Db, Gb |
F # major | 6 | F #, C #, G #, D #, A #, E # | Gb major | 6 | Bb, Eb, Ab, Db, Gb, Db |
C # major | 7 | F #, C #, G #, D #, A #, E #, B # | Cb major | 7 | Bb, Eb, Ab, Db, Gb, Db, Fb |
As you have seen, following the cycle each new level adds a sharp (if you read it as meaning clockwise). In the case of flats, the sense in which the changes accumulate is the inverse:
The van sustained by fifth-adding. As we saw, starting from C, which has no alteration, the first that appears is F #, in the G major scale. The next level adds an alteration, leaving F # and C #, and so on. You see, the cycle of fifths will be used to predict the changes: the sustained added to each new level appear to form a new cycle of fifths (F #, C #, G #, D #, etc.., You can see the pattern clearly in the list above).
If you read the Cycle in the direction of clockwise, to get to the flats you will find it much more difficult to deduce the changes. Has six alterations Gb, Db five, and so on.
In the case of flats, therefore, you should order is the reverse. For quarters, the system is much simpler:
- C has no changes
- F is an alteration (Bb)
- Bb has two alterations (Bb and Eb)
- ... And so on.
The trick to know what is the alteration to be added in the new scale, in the case of flats, is thinking about the next note of the cycle (in reverse, ie, fourth) and add to the list.
So, we had been on the scale of Bb, with two alterations (Bb and Eb)
What will be the following scale disturbances (Eb major)?
If you see the cycle of fourths, see the note following Ab Eb is: this is the note that you should add to the list of alterations. The scale therefore be: Eb, F, G, Ab, Bb, C, D.
You see, you can deduct a larger scale changes in one direction or the opposite, as a scale with sharps or flats.
I propose a series of exercises to practice with learning. I do not tire of insisting that they should memorize the cycle of fifths (in both directions). It only takes an afternoon and the benefits of doing this are invaluable.
Do not go to the table to respond. The important thing is to do the mental work to deduce the changes.
1. How many changes has the B major scale?
2. What are the changes in F major scale?
3. What are the changes in E major scale?
4. Write the scale of Ab.
5. If I ask a larger scale with two sharps, what level would you give me?
If you want, you can see the solutions through this link: Solutions
Under copyleft license
(3 reviews, average: 5.00 out of 5) 
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Comment by Damian on January 23, 2009 :
Excellent article / post / lesson jaja xD ... very clear and explanatory, I served a lot ... ah! and great blog too ... greetings!
Comment by Efrain on March 10, 2009 :
God bless you, thanks for exposing this very interesting and share your knowledge.
I know you say you should not be repeated notes on a larger scale, but I like to communicate something I do not understand yet, I hope you understand.
If we take the natural scale C, (a tone) D, (a tone) E, (half tone) F, (a tone) G, (a tone) A, (a tone) B, (1 / 2 tone ) C, we are obvious tonal distance between each note.
Now try to build, clinging to the rules of tonal distance, the scale of C #:
C # (1 tone), D # (a tone), F (half tone), F # (a tone), G # (a tone), A # (a pitch), C (half pitch), C #.
I ask you please clarify my doubt, I can not find something online that I explain this yet clear. If I list the sustained G, D, those of B, all I get by this scale, but do not give me the seven sustained C # which are seven and here I give only 5.
Thanks in advance.
Comment by Mark Senabre on March 10, 2009 :
Thank you both for the comments.
Efrain, if you take a look at wikipedia you'll see that given the scale notes:
C #, D #, E #, F #, G #, A #, B #.
Not much to explain about it, really: all you need to know is that between B # and C and between E # and F given is enharmony (despite having two names, the notes refer to the same sound) .
In essence, this is the same thing happens with the notes G # and Ab: are the same intonation.
Thus, you should have no bias when placing B # and E # in the range of C # major.
I placed the links:
http://en.wikipedia.org/wiki/C-sharp_major (English)
http://es.wikipedia.org/wiki/Do_sostenido_mayor (, was published)
You may also be interested in the case of A # minor:
http://es.wikipedia.org/wiki/La_sostenido_menor
Hope that helps.
Greetings!
Comment by Efrain on March 10, 2009 :
Wow, you've talked a hundred years
Thanks for such a precise answer, now I see it from another perspective.
What happened is that he had not seen from that point of view.
God continue to bless you and you continue to give that intelligence and patience to answer them.
Shalom!
Comment by isidro on June 22, 2009 :
Very good article and good site I congratulate you.
Comment by oscar on July 29, 2009 :
oscar hello, congratulations wing information given to me,
because I understood correctly.
thank you, Gran Canaria
Comment by Bo on December 2, 2009 :
Wow! Tremendo theory of the cycle of fifths, digested until it "baby food" ...
Thanks!
Comment by Omi on December 14, 2009 :
Excellent, thank you for your explanation.
Clear, concise and easy to understand.
Comment by Miguel on December 28, 2009 :
This page is excellent really good, Many Thanks!
Comment by Hernan Maroni on January 28, 2010 :
Question: Is it the same understanding the cycle of fifths as C, G, D, A, E, B, Gb, Db, Ab, Eb, Bb, F and C, G, D, A, E, B, F # , C #, G #, D #, A #, F? Last night mentally going over my keypad Bass Piano Accordion, which is divided by Quintas cycle, and although the buttons are called according to the chords that are beneath them, I came anxiety. In the final talk of Gb and F # is the same. I hope I made them understand. Embrace and very educational all this really helpful for any musician, any instrument. Hernán.
Comment by Mark Senabre on January 29, 2010 :
Thank you all for your comments.
As to the question of Hernan Maroni, in fact, between Gb and F # is given back what we know as " enharmony "despite having two different names, both notes refer to the same sound (have the same pitch).
But watch, the choice between flat and sharp here is not arbitrary.
. My answer to the question therefore is "not the same to understand the cycle of fifths as C, G, D, A, E, B, Gb, Db, Ab, Eb, Bb, F, and C, G, D, A, E, B, F #, C #, G #, D #, A #, F ".
You're going to be clear with an example:
What are the changes in G # Major? , D ♯ , E ♯ , F Here they are: G ♯, A ♯, B ♯, C ♯, D ♯, E ♯, F
, G ♯.
What about the D # Major? Here they are: D ♯, E ♯, F
, G ♯, A ♯, B ♯, C 
.
(The new symbol '
'Is that of a " double-sharp ".)
Therefore, in the example of Mayor we have E D # # (which corresponds to F), F
(Which corresponds to G), B # (which corresponds to C) and C 
(Which corresponds to D).
(If instead of doing so, we think the scale and Eb Major, we have the notes: Eb, F, G, Ab, Bb, C, D ... Much easier, right?!)
It is therefore better to use the Fifth Cycle as shown in the diagram.
Again, thank you very much everyone for your comments.
Greetings!
Trulia Comment on February 24, 2010 :
I just read the article and the comments and I have not read anywhere so clear!
Congratulations ... .. I read the following
Comment by john on April 8, 2010 :
Hello Mark.
I'll be honest. He only gave a slight reviewed the cycle (or circle) of the fifth ... and I hope to discuss a comment that is on your height (very high by the way).
On the other hand, appreciation of heart, effort, enthusiasm, a desire to share that knowledge with us, your knowledge to facilitate the learning of music theory. Certainly, people like you are needed on this planet ... and screaming!
I reiterate my appreciation, and well ... a fraternal embrace
Sincerely,
John
Comment by guido on April 27, 2010 :
Well there,
Pope saved my life! Internet asshole just for me to connect and learn the conservatory! amigoss hug
Comment by Angel Fernandez (deP.R.) on May 10, 2010 :
In any school on this planet the note is (A +).
I wonder if there are other circles to understand more relacionadoa music theory such as: Tritons cycle, whole tone, diminished cilclo and other tantos.ect ...
very friendly and that the Lord will Bendiga.GRACIAI MIL.
Commentary Gedjesus13 on May 21, 2010 :
Excellent article, very well explained, I understood everything quickly, correctly answered questions at the end.
Well, this is because I had read before other items relating to the cycle of fifths, but always ending with some hesitation, doubts now cleared in this article.
Congratulations for the article, and thanks for the excellent contribution.
I'm going to read the following article.
Greetings from Tijuana, Mexico.
Review of Felo on May 25, 2010 :
Mark, your article is great! The truth is that I know nothing about music theory or anything but slowly I'm learning (auqnue cost me a bit). I have spent many years playing guitar but very basic level and I have never made to study this sort of thing, but it is never late. Thank you very much.
Comment by Jose Colon on June 24, 2010 :
are various scales and also the circle of fifths higher but not as COMBINATIONS to remove songs please if I can help with that I'll thank you very much and god bless
Yngwito commentary on June 29, 2010 :
very good friend I really liked what appears saluodos there something I give any advice to compose thanks !!!!!!!!!