Documenti di Didattica
Documenti di Professioni
Documenti di Cultura
SECTION ONE:
The Circle of Fifths Offers Musicians an Excellent Practice Tool...
STUDY CHORDS, SCALES ARPEGGIOS & LINES USING THIS METHOD:
The Circle of Fifths is a very important concept. And, it is one that can have many solid
practice spin-offs. This might include, (but not be limited to), learning better technique
for; your chords, your guitar licks, your knowledge of the neck and not to mention your
understanding of keys and key signature movements for all of the sharps and flats as they
function in the key signature system.
When it comes down to applied knowledge, (rehearsal of your chords, scales and arpeggios),
with the key signatures, the circle of 5ths theory certainly creates a very tidy image for how
these keys can operate to organize a great study routine. We can use the Circle of Fifths
image to; travel in upward or downward directions, we can apply the Relative Major & Minor
key theory, for a proper understanding of how to memorize the order of the sharps and flats,
and we can have a logical system to correlate the Major and Relative Minor Keys. All in all, this
cycle of movement that we have for the keys can not only help us to better understand
relationships between the keys, (as they move one to the next), but it also helps us when it
comes to using the keys for the rehearsal of other guitar techniques.
When we use the Circle of Fifths as a study tool, the by-product becomes far better fingerboard
knowledge. As stated in the past, the memorization of all of the keys will help a great deal for
building better skills with melody and harmony. The benefit of a Circle of Fifths study is a much
higher level of skill with both music theory and its application to the guitar neck.
In this lesson plan, we will begin with a breakdown of music theory as its associated to the
Circle of fifths. Then well head over to the guitar neck and study how this circle of fifths idea
can be used to practice; technique, chord knowledge and even scales and arpeggios.
SECTION TWO:
The Circle of Fifths Wheel /Clock Image Explained...
Study the Circle of Fifths image below. When traveling in the Clockwise direction, (known as
up), we ascend through the Sharp Keys in 5ths. The key of, C, moves a 5th up to, G.
When we move in a Counter-clockwise direction, (known as down), we descend in fifths. The
key of, C is down a 5th from the key of, F. The inner-circle contains the Relative Minor Keys.
Down by fifths
(Flat Keys)
Up by fifths
(Sharp Keys)
SECTION THREE:
Moving through the Circle of Fifths on the Fingerboard...
20
Em
Page 2 of 2
Am
V Vfirst
In my
a look
l l V lI Vwanted
V V examples,
l atlhowl the circle
k of 5ths can lbe thought
l l of kin
V V two
V k VtoV have
I
gV V through
V V V both
V V up,
V
terms of movement
keys, traveling
as
well
as,
down
through
the
key
VVVVVV
V V V
V V and
VV
V Major.
signatures. In example one, Im starting on the first key - the natural key of, C
from
there
Song
Title
- ArtistIm
T 5 3 3
Bm
4
4
Page 2 of 2
Em
Am
2
2
2 4
A
4
7 5
5
7
7
5
7
3
B V
V V VPractice
l 5 l keys
l 5traveling,
k 5 P 3 Up
l V l the
5
0 l 3 l
20 Example
in 5Fifths.
V l movement
V V k VP V through
I P V V #1).
V V 7Sharp
gV
(C)
23
I
T 5 3
W
A
B
T
A
B
(D)
2 4
(C)
I (C)W
27
I W
8
23
27
(G)
(A)
7 5
(G)
(D)
(B )
10
(F)
`
W
eW
7
(A)
W`
eW
(E )
3 l 3 5 k
H
VV V V VV
V V V V V bV
V (CVb) V V
(E)
(B)
(F ) V
gW
g
W
W
W
7
2
(E)
W`
eW
(A )
5 7
5 3
4
(B)
W`
eW
(D )
75 0
b
gW
(G`)
eW
(F )
T
7
4
A
7
Example #2). Practice
the movement
through Flat 2keys traveling, Down in Fifths.
10
5
B 8
T
7
8
6
A (C)
`
`
`
`
8)
(F)
(B
(E )
(A6 )
(D )
(G`)
8
B 8
eW
I W
T
A
B
W
8
eW
8
eW
8
eW
6
eW
6
9
3
b
gW
3 5
H
(C )
`
eW
(C )
`
eW
(C )
I 44
WW
WW
T
A
B
5
5
C
5
3
WW
WW
WW
W
gWWW
3
3
4
G
5
5
3
3
2
D
4
5
W
gWW
W
gWW
WW
5
2
2
2A
4
5
4
2E
gW
gggWWW
gW
g WWW
2
2
3
F
4
4
4
4B
2
W
gggWWW
2
1
3C
4
W
WW
gWW
gWW
WW
4
W
gWW`
g
W
g
W
W
g
W
W
I 4Am WW
W
Dm
Gm
Cm
Fm
gWW
g BWW m
gWWE`m gggWWWWA`m
W
W
WW
e WW the circle
e WW Minor Theory.
WW
WWW I run through
e WW I will be
WW of fifths using
e WW This time,
WW Relative
In example
four,
e
e
W
W
e
W
5
eW
2e W
W
WW 33by Fifths, through
e2e WW
W3
WW52 Flat keys. e WW45
I
traveling,
the
e
T W 5 Down
4
2W
W 5
4
2
2
4
4
3
1
1
A
5
5
4
2
2
4
4
3
3 #4). Practice
5
5
2
4positions.
B
Example
this
Circle
of
Fifths
study
of
Minor
Triads
in
the
middle-neck
5
5 3
6
6
4
T 5
6
8
8
6
6
7
4
5
7
7
8
5
6`
8`
4`
Dm
Gm
Cm
Fm
B
m
E
m
A
A Am
7
7
5
5
6
8
8
6m
5
8
6
B 75
8
WWW
WW
9
I V5 V V V V5 V V V
T 5
6
5
WW
WW
I Cmaj7
WW
A
B
T
A
B
5
7
7
5
7
7
5
Cmaj7 7 10
9 10 9
10 7
I V V V V V V V V
V
13
I V gV V gV V V V
9
Emaj7
T
A
B
T
A
B
13
8
7
Emaj7
7 10
6
9 10 9
10 7
9
V gV V V V
e WW
WW
Gmaj7
e WW
WW
gV V V V V
V
V
V6
8
7
5
8
8
5
8
8
10
Gmaj7
eW
e e WWW
e WW
e ee WWW
e e WW
Amaj7
eW
V gV V V V V
V V V
g
V
g
V
V
V
V
6
4
V6 gV
6
7
4
WW
e
WW
Dmaj7
5
6
8
6
8
Dmaj79
8
8
6
4
6
9 10 9
gV V V V V
gV V V V V b
V
V
V
b
g
V
V
g
V
V
F
maj7
C
maj7
V V V
V
V gV V
gV gV gV V V V
V V V
gV gW
g
g
V
V
g
V
V
g
g
V
g
V
g
V
V
gV
V
7 8 7
9 10 9
10
Amaj7
Bmaj7
10
10
8
9
Fbmaj7
gV gV gV V V
9
8
Cbmaj78
gV gW
WW
WW
WW
W
I 44 WWW
The
of Fifths
A Circle E
B
Page (5)
W
gWW
gW
gWW
WW
g WWW
W
SECTION 3FOUR:
W
gWWW
gW
gggWWW
W
gggWWW
T
5
3
3
2
5
4
2
2
4 Fifths Applied
2
2 Arpeggio
4 Practice...
4
3
1
to
AThe 55Circle of
5
4
2
2
4
4
3
3
5
5
2
4
B
3
In example five, I have a very popular way to practice arpeggio exercises using the Circle of
Fifths.
appliesGma direction
circle andB`mthen it maintains
that movement
Am This method
Dm
Cmthrough theFm
E`m
A`m
as it travels from one key to the next through the Circle of Fifths.
e WW
e WW
WW
WWW
e WW
WW
W
e ee WWW
e
e
W
W
W
W
e WW
5
e
W
W
W
e
W
e
IIn this
W
W
W
example,
I
decided
to
use
the,
Major
7th
Arpeggios,
and
travel
upwards
WW particular
e
W
W
W
through the circle of fifths. I begin upon the, C Major 7, arpeggio and continued until
I eventually complete our sharp key cycle, finally ending upon a, C# Major 7, arpeggio.
5
5
6
6
4
T 5
6
8
8
6
6
7
4
7
7
8
5
6
8
4
A 57
7
5
5
6
8
8
6
7
5The, Major 7th Arpeggio, traveling upward
8
6 of Fifths.
BExample
#5).
through
the
Circle
5
8
Cmaj7
Gmaj7
I V V V V V V V V
T
A
B
7 10
9 10 9
10 7
Emaj7
13
V
I V gV V gV V V V
T
A
B
gV V V V V
V
V
V
10
10
F maj7
gV V V V V
g
V
g
V
V
7
gV V V V V
V
g
V
V
Bmaj7
Dmaj7
gV
gV gV gV
9
gV V V
V
gV V V V V
V
g
V
V
Amaj7
9 10 9
C maj7
gV
g
V
V
g
gV
gW
T
A
B
5 3
Em
2 4
10 8
Am
7 9
15 13
14
13
14
14
12
12
12 14
T
A
B
5
5
5
7
7
5
5
6
7
7
5
6
8
7
5
8
8
5
6
6
6
8
6
5
6
8
The
Circle of Fifths
8
Page (6)
Cmaj7
Gmaj7
gV V V V V
V
V
V
V
V
I
V V V
SECTION
FIVE:
V V V
4
4
4
6
7
8
8
6
gV V V V V
V gV V
Dmaj7
Amaj7
gV V V V V
V gV V
T
7 8 7
9 10 9
7
7
6 7 6
6 9
9 6
as
well
as,
example
seven,
Im
going
to
take
a
look
at
moving
a
guitar
riff through
AIn example six,
9 10 9
9
9
7
7
7
7 10 in the Circle
10 7 of fifths
10
9
9
Ba few
keys
in an along the neck
manner.
In example
six, Ill move the idea
8
10
along the neck using the same string sets. In example seven, Ill shift through the same keys
Emaj7different string sets. Bmaj7
Fbmaj7
Cbmaj7
using
13
V V guitar
gV ginV new
gV isV not
V only
g
V
V
V
V
V gW but it is a
This concept
an excellent
way
to
thoroughly
burn
g
V
g
V licks
V
V
I
g
V
V
g&V griffs,
V
g
V
g
V
V
V
g
g
V
V
g
V
fantastic way to fully exploreV the fingerboard for both note movements, as well as, for extra study
of Ear Training across the fingerboard.
T
6 7 6
8 9 8
6
6
5 6
AExample
6 9#6). Minor9key
6 guitar riff that
8 9travels
8
8
6 the same
Down by8 5ths (in this example
using
7
6 9
9 6
9
8
Bguitar
string-sets) from B Minor
through to, E Minor, and finally ending upon,
A Minor.
7
9
T
A
B
5 3
Em
2 4
Am
10 8
15 13
7 9
14
13
14
14
12
12
12 14
Example #7). Minor key guitar riff that travels Down by 5ths (in this example using different guitar
string-sets) from B Minor through to, E Minor, and finally ending upon, A Minor.
Page 2 of 2
Bm
20
I
T
A
B
Em
VVVVVV lVlVlVVk V
VVVVV lVlVlVVk VV VV l l l k
gV
V
V
VV V V VV
5 3
2 4
(C)
23
I W
T
A
B
Am
8
(C)
7 5
(G)
(D)
10
(F)
(B )
(A)
W
7
`
eW
5 3
P
(E)
W
2
5 7
(A )
(B)
W
4
`
eW
(D )
b
gW
5 0
(F )
`
eW
(G )
3 5
b
gW
(C )
`
eW
(C )
Southern Breeze
P = 76
I 44
by Andrew Wasson
R
P gV V V V V V V V V V V V
P V V V V V V V V V V V V
9 11 11 11
0 0 0 0
4
0
k V V
V V
R
P V V V V V V V
P V V V V V V V
VV VV
Gtr I
T
A
B
7
0
9
0
12 11
0 0
9
0
7
0
2
0
4
0
sl.
5
0
4
0
2
0
4
0
4
0
D/F
Em
2
0
VV V V gVV VV V V
I
T
A
B
8 10 8 7
9
7
T
A
B
8 10 8 7
9
7
T
A
B
9 12
10
11
(A)
G/B
5 7
5 7 4
7 9 11
10
9
0
0
0
2
0
7
10
8 10 8
10 12
15 14 12
V V
V V
D/F
D/F
V gV V V
VV P V
z
D5
15 12
14 14 16
sl.
R
VVV P VVVV
V V V V l V V V V gV V V V gV l Vv k V V
5 7 8
V V V V
VV V V V V Pz V V
D/F
Em
Em
5 5
5
0
G/B
sl.
(A)
VVVVVV
VVVV
8 7
7
0
Csus2
Em
9 7
sl.
5 7
5 5 5 5
V V
V
V
V V
V V
V
V V V gV V V V V
G/B
V V V V
G/B
15
10
D/F
8 7
VV V V gVV VV V V
11
I
Em
0
0
7
0
2.
Csus2
R
I PP VV VV VV VV VV VV gV V V V
V
V
T
A
B
5
0
sl.
1.
Bm
5
0
V V V V gV V
V
8 7
5 7 9
D5
10 8 7 8
sl.
V V V V gV V V V
VV VV VV VV l VV VV VV VV gVV VV
5 5 5 5
5 5 5 5
D5
5 5
5 5
5 7 8
5 5 5
sl.
Generated using the Power Tab Editor by Brad Larsen. http://powertab.guitarnetwork.org
13 12 10
10
12 11 12
VV
8 10
Page (8)
D/Fb
V
P V V V V V V P V
19
z
I z
V V V
T
A
B
10 12
10
12 10
Em
12 10 8 10
sl.
(10) 8 8
D/Fb
V
P V V V V P V V V
z
z
V V
8 10
10 12
D/F
10
12 10
10 12 10 8
sl.
Em
P VVVVVVV P V
23
z
I z
VVV
Page 2 of 2
VV
V V V V V V
(8)
8 10 8
7 9
sl.
gV V V V V
P VVVVVV
z
P V
z
VVV
VV
VV
Full
T
A
B
10 12
10
12 10
12 10 8 10
sl.
(10) 8 8
8 10
10 12
10
12
12
sl.
R
P gV V V V V V V V V V V V
P V V V V V V V V V V V V
I
T
A
B
11
0
9
0
11
0
11
0
12
0
11
0
9
0
7
0
2
0
17 17
7 9
0 0
R
P V V V V V V V
P V V V V V V V
4
0
5
0
4
0
5
0
5
0
7
0
VV VV
5
0
0
0
2
0
sl.
1.
Bm
2.
Csus2
G/B
R
V
29
I PP VV VV VV VV VV VV gV V V V V V V V V V V VV V
V
V
V
2 4 4 4
0 0 0 0
15 17
sl.
T
A
B
15
sl.
27
12 14 15 14 12
2 0
0 0
0
2
7 9
0 0
Csus2
VV
V
V
V V VVV
3
0
0
0
0
2
G6/B
WW
WW
W
Dadd4
Echo /Fade...
VgV V V V V V V V V
5
0
5