Pathways to Harmony

G DeBenedettiwww.gmajormusictheory.org

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Pathways to Harmony

Chapter 4: Half and whole steps, major scales and the circle of fifths

4.5 Choosing Keys with

the Circle of Fifths

&#So what does the circle of fifths

have to do with real music?

• In presentations 4.5 and 4.6 we will see and hear how the circle of fifths is used…

&#So what does the circle of fifths

have to do with real music?

• In presentations 4.5 and 4.6 we will see and hear how the circle of fifths is used… – to change keys in the middle of a piece (4.5)

&#So what does the circle of fifths

have to do with real music?

• In presentations 4.5 and 4.6 we will see and hear how the circle of fifths is used… – to change keys in the middle of a piece (4.5)– to choose chords in folk and popular music (4.6) and

&#So what does the circle of fifths

have to do with real music?

• In presentations 4.5 and 4.6 we will see and hear how the circle of fifths is used… – to change keys in the middle of a piece (4.5)– to choose chords in folk and popular music (4.6) and – to choose chords in classical music and in jazz (4.6)

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• Composers often use more than one scale, or key, as the basis for a particular piece.

Moving to a new key

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• Composers often use more than one scale, or key, as the basis for a particular piece.

• After the first key is established, the composer must decide which key to move to.

Moving to a new key

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• Composers often use more than one scale, or key, as the basis for a particular piece.

• After the first key is established, the composer must decide which key to move to.

• The new key is usually chosen on the basis of the circle of fifths.

Moving to a new key

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• Composers often use more than one scale, or key, as the basis for a particular piece.

• After the first key is established, the composer must decide which key to move to.

• The new key is usually chosen on the basis of the circle of fifths.

• Usually the composer chooses the key next to the original one on the circle moving clockwise.

Moving to a new key

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• For instance, a piece may begin by using notes from a B-flat scale. That is, it's in the key of B-flat.

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• For instance, a piece may begin by using notes from a B-flat scale. That is, it's in the key of B-flat.

• If the piece is long enough the composer may start using notes from a new scale. That scale will often be the one of the next key moving clockwise, F.

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• For instance, a piece may begin by using notes from a B-flat scale. That is, it's in the key of B-flat.

• If the piece is long enough the composer may start using notes from a new scale. That scale will often be the one of the next key moving clockwise, F.

• These scales differ by only one note, and their similarity may explain why they are so often used together in the same piece.

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• In the first section of the piece on the next slide, Rameau used notes from the C scale--there are no sharps and flats.

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• In the first section of the piece on the next slide, Rameau used notes from the C scale--there are no sharps and flats.

• In the second section, Rameau repeated the music exactly, except

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• In the first section of the piece on the next slide, Rameau used notes from the C scale--there are no sharps and flats.

• In the second section, Rameau repeated the music exactly, except – the music shifts up five notes in the top staff and

down four notes in the bottom staff, and

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• In the first section of the piece on the next slide, Rameau used notes from the C scale--there are no sharps and flats.

• In the second section, Rameau repeated the music exactly, except – the music shifts up five notes in the top staff and

down four notes in the bottom staff, and – the notes are taken from the G scale--all F’s are

sharp.

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• In the first section of the piece on the next slide, Rameau used notes from the C scale--there are no sharps and flats.

• In the second section, Rameau repeated the music exactly, except – the music shifts up five notes in the top staff and

down four notes in the bottom staff, and – the notes are taken from the G scale--all F’s are

sharp.

• So Rameau moved from the key of C, at the top of the circle, to the key of G, moving clockwise by one key.

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• Section one:– Key of C

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• Section one:– Key of C

• Section two:– Key of G,

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• Section one:– Key of C

• Section two:– Key of G,

• At the end of the page the piece goes back to section one.

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• Section one:– Key of C

• Section two:– Key of G,

• At the end of the page the piece goes back to section one.

• PLAY the piece

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Now it's your turnUSE a copy of the circle of fifths to answer the

following question. WRITE down your answers. Correct answers are on the next slide.

If a piece changes key, NAME the likely new key if the original key was

a. E

b. D-flat

c. F

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ANSWERS!1.

a. B

b. A-flat

c. C