Circle of fifths
In music theory, the circle of fifths is a way of organizing the 12 chromatic pitches as a sequence of perfect fifths. (This is strictly true in the standard 12-tone equal temperament system — using a different system requires one interval of diminished sixth to be treated as a fifth). If C is chosen as a starting point, the sequence is: C, G, D, A, E, B (=C♭), F♯ (=G♭), C♯ (=D♭), A♭, E♭, B♭, F. Continuing the pattern from F returns the sequence to its starting point of C. This order places the most closely related key signatures adjacent to one another. It is usually illustrated in the form of a circle.
Definition
The circle of fifths organizes pitches in a sequence of perfect fifths, generally shown as a circle with the pitches (and their corresponding keys) in a clockwise progression. The circle is often used in the counter clockwise direction, making it a circle of fourths. Harmonic progressions in Western music commonly use adjacent keys in this system within a composition, making it a useful reference for musical composition and harmony.[1]
Using the system of just intonation, a perfect fifth consists of two pitches with a frequency ratio of 3:2, but generating twelve successive perfect fifths in this way does not result in a return to the pitch class of the starting note. To adjust for this, instruments are generally tuned with the equal temperament system. Twelve equal-temperament fifths lead to a note exactly seven octaves above the initial tone—this results in a perfect fifth that is equivalent to seven equal-temperament semitones.
The top of the circle shows the
Starting at any pitch and ascending by a fifth generates all twelve tones before returning to the beginning pitch class (a pitch class consists of all of the notes indicated by a given letter regardless of octave—all "C"s, for example, belong to the same pitch class). Moving counterclockwise, the pitches descend by a fifth, but ascending by a perfect fourth will lead to the same note an octave higher (therefore in the same pitch class). Moving counter-clockwise from C could be thought of as descending by a fifth to F, or ascending by a fourth to F.
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Structure and use
Diatonic key signatures
Each of the twelve pitches can serve as the tonic of a major or minor key, and each of these keys will have a diatonic scale associated with it. The circle diagram shows the number of sharps or flats in each key signature, with the major key indicated by a capital letter and the minor key indicated by a lower-case letter. Major and minor keys that have the same key signature are referred to as relative major and relative minor of one another.
Modulation and chord progression
Tonal music often modulates to a new tonal center whose key signature differs from the original by only one flat or sharp. These closely-related keys are a fifth apart from each other and are therefore adjacent in the circle of fifths. Chord progressions also often move between chords whose roots are related by perfect fifth, making the circle of fifths useful in illustrating the "harmonic distance" between chords.
The circle of fifths is used to organize and describe the
According to
Circle closure in non-equal tuning systems
Using the exact 3:2 ratio of frequencies to define a perfect fifth (just intonation) does not quite result in a return to the pitch class of the starting note after going around the circle of fifths. Equal temperament tuning produces fifths that return to a tone exactly seven octaves above the initial tone and makes the frequency ratio of each half step the same. An equal-tempered fifth has a frequency ratio of 27/12:1 (or about 1.498307077:1), approximately two cents narrower than a justly tuned fifth at a ratio of 3:2.
Ascending by justly tuned fifths fails to close the circle by an excess of approximately 23.46
History
The circle of fifths developed in the late 1600s and early 1700s to theorize the modulation of the Baroque era (see § Baroque era).
The first circle of fifths diagram appears in the Grammatika (1677) of the composer and theorist Nikolay Diletsky, who intended to present music theory as a tool for composition.[7] It was "the first of its kind, aimed at teaching a Russian audience how to write Western-style polyphonic compositions."
A circle of fifths diagram was independently created by German composer and theorist Johann David Heinichen in his Neu erfundene und gründliche Anweisung (1711),[8] which he called the "Musical Circle" (German: Musicalischer Circul).[9][10] This was also published in his Der General-Bass in der Composition (1728).
Heinichen placed the relative minor key next to the major key, which did not reflect the actual proximity of keys. Johann Mattheson (1735) and others attempted to improve this—David Kellner (1737) proposed having the major keys on one circle, and the relative minor keys on a second, inner circle. This was later developed into chordal space, incorporating the parallel minor as well.[11]
Some sources imply that the circle of fifths was known in antiquity, by
Use
In musical pieces from the
In practice, compositions rarely make use of the entire circle of fifths. More commonly, composers make use of "the compositional idea of the 'cycle' of 5ths, when music moves consistently through a smaller or larger segment of the tonal structural resources which the circle abstractly represents."[17] The usual practice is to derive the circle of fifths progression from the seven tones of the diatonic scale, rather from the full range of twelve tones present in the chromatic scale. In this diatonic version of the circle, one of the fifths is not a true fifth: it is a tritone (or a diminished fifth), e.g. between F and B in the "natural" diatonic scale (i.e. without sharps or flats). Here is how the circle of fifths derives, through permutation from the diatonic major scale:
And from the (natural) minor scale:
The following is the basic sequence of chords that can be built over the major bass-line:
And over the minor:
Adding sevenths to the chords creates a greater sense of forward momentum to the harmony:
Baroque era
According to Richard Taruskin, Arcangelo Corelli was the most influential composer to establish the pattern as a standard harmonic "trope": "It was precisely in Corelli's time, the late seventeenth century, that the circle of fifths was being 'theorized' as the main propellor of harmonic motion, and it was Corelli more than any one composer who put that new idea into telling practice."[18]
The circle of fifths progression occurs frequently in the music of
– and in Bach's keyboard arrangement of Alessandro Marcello's Concerto for Oboe and Strings.
Nineteenth century
Franz Schubert's Impromptu in E-flat major, D 899, contains harmonies that move in a modified circle of fifths:
The
Robert Schumann's "Child falling asleep" from his Kinderszenen uses the progression, changing it at the end—the piece ends on an A minor chord, instead of the expected tonic E minor.
In
Jazz and popular music
The enduring popularity of the circle of fifths as both a form-building device and as an expressive musical trope is evident in the number of "standard" popular songs composed during the twentieth century. It is also favored as a vehicle for improvisation by jazz musicians, as the circle of fifths helps songwriters understand intervals, chord-relationships and progressions.
The song opens with a pattern of descending phrases – in essence, the hook of the song – presented with a soothing predictability, almost as if the future direction of the melody is dictated by the opening five notes. The harmonic progression, for its part, rarely departs from the circle of fifths.[21]
- Jerome Kern, "All the Things You Are"[22]
- middle eight progresses so rapidly through the circle, "creating a series of II–V–I progressions that temporarily pass through several tonalities."[23]
- Kosma, Prévert and Mercer, "Autumn Leaves"[24]
- The Beatles, "You Never Give Me Your Money"[25][non-primary source needed]
- Mike Oldfield, "Incantations"[26]
- Carlos Santana, "Europa (Earth's Cry Heaven's Smile)"[citation needed]
- Gloria Gaynor, "I Will Survive"[27][non-primary source needed]
- Pet Shop Boys, "It's a Sin"[28][non-primary source needed]
- Donna Summer, "Love to Love you, Baby"[29][non-primary source needed]
Related concepts
Diatonic circle of fifths
The diatonic circle of fifths is the circle of fifths encompassing only members of the diatonic scale. Therefore, it contains a diminished fifth, in C major between B and F. See structure implies multiplicity. The
Chromatic circle
The circle of fifths is closely related to the chromatic circle, which also arranges the twelve equal-tempered pitch classes in a circular ordering. A key difference between the two circles is that the chromatic circle can be understood as a continuous space where every point on the circle corresponds to a conceivable pitch class, and every conceivable pitch class corresponds to a point on the circle. By contrast, the circle of fifths is fundamentally a discrete structure arranged through distinct intervals, and there is no obvious way to assign pitch classes to each of its points. In this sense, the two circles are mathematically quite different.
However, the twelve equal-tempered pitch classes can be represented by the cyclic group of order twelve, or equivalently, the residue classes modulo twelve, . The group has four generators, which can be identified with the ascending and descending semitones and the ascending and descending perfect fifths. The semitonal generator gives rise to the chromatic circle while the perfect fifth gives rise to the circle of fifths.
Relation with chromatic scale
The circle of fifths, or fourths, may be mapped from the
Here is a demonstration of this procedure. Start off with an ordered 12-tuple (tone row) of integers
- (0, 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11)
representing the notes of the chromatic scale: 0 = C, 2 = D, 4 = E, 5 = F, 7 = G, 9 = A, 11 = B, 1 = C♯, 3 = D♯, 6 = F♯, 8 = G♯, 10 = A♯. Now multiply the entire 12-tuple by 7:
- (0, 7, 14, 21, 28, 35, 42, 49, 56, 63, 70, 77)
and then apply a
- (0, 7, 2, 9, 4, 11, 6, 1, 8, 3, 10, 5)
which is equivalent to
- (C, G, D, A, E, B, F♯, C♯, G♯, D♯, A♯, F)
which is the circle of fifths. This is
- (C, G, D, A, E, B, G♭, D♭, A♭, E♭, B♭, F).
Enharmonic equivalents, theoretical keys, and the spiral of fifths
Equal temperament tuning does not use the exact 3:2 ratio of frequencies that defines a perfect fifth, whereas the system of just intonation uses this exact ratio. Ascending by fifths in equal temperament leads to a return to the starting pitch class—starting with a C and ascending by fifths leads to another C after twelve iterations. This does not occur if an exact 3:2 ratio is used (just intonation). The adjustment made in equal temperament tuning is called the Pythagorean comma. Because of this difference, pitches that are enharmonically equivalent in equal temperament tuning (e.g., D♭ and C♯) are not equivalent when using just intonation.
In just intonation the sequence of fifths can therefore be visualized as a spiral, not a circle—a sequence of twelve fifths results in a "comma pump" by the Pythagorean comma, visualized as going up a level in the spiral. See also § Circle closure in non-equal tuning systems.
Without enharmonic equivalence, continuing a sequence of fifths results in notes with double accidentals (double sharps or double flats). When using equal temperament, these can be replaced by an enharmonically equivalent note.
Keys with double sharps or flats in the key signatures are called theoretical keys—their use is extremely rare. Notation in these cases is not standardized.
The default behaviour of LilyPond (pictured above) writes single sharps or flats in the circle-of-fifths order, before proceeding to double sharps or flats. This is the format used in John Foulds' A World Requiem, Op. 60,[31] which ends with the key signature of G♯ major, as displayed above. The sharps in the key signature of G♯ major here proceed C♯, G♯, D♯, A♯, E♯, B♯, F.
Single sharps or flats in the key signature are sometimes repeated as a courtesy, e.g. Max Reger's Supplement to the Theory of Modulation, which contains D♭ minor key signatures on pp. 42–45. These have a B♭ at the start and also a B at the end (with a double-flat symbol), going B♭, E♭, A♭, D♭, G♭, C♭, F♭, B. The convention of LilyPond and Foulds would suppress the initial B♭. Sometimes the double signs are written at the beginning of the key signature, followed by the single signs. For example, the F♭ key signature is notated as B, E♭, A♭, D♭, G♭, C♭, F♭. This convention is used by Victor Ewald,[32] by the program Finale, and by some theoretical works.
See also
- Approach chord
- Sonata form
- Well temperament
- Circle of fifths text table
- Pitch constellation
- Multiplicative group of integers modulo n
- Multiplication (music)
- Circle of thirds
Notes
References
- ^ Michael Pilhofer and Holly Day (23 Feb 2009). "The Circle of Fifths: A Brief History", www.dummies.com.
- ^ Broekhuis, Rogier (2022-10-11). "Wheel of Fifths – Harmonic Function". Wheel of Fifths. Retrieved 2023-10-05.
- ^ Nattiez 1990, p. 225.
- ^ Goldman 1965, p. 68.
- ^ Goldman 1965, chapter 3.
- ^ Nattiez 1990, p. 226.
- ^ Jensen 1992, pp. 306–307
- ^ Johann David Heinichen, Neu erfundene und gründliche Anweisung (1711), p. 261
- ^ Barnett 2002, p. 444.
- ^ Lester 1989, pp. 110–112.
- ISBN 0195178297.
- ^ "The Circle of Fifths Complete Guide!". 17 January 2021.
- ^ "The Circle of Fifths made clear".
- ^ "Dummies - Learning Made Easy".
- ^ Fraser, Peter A. (2001), The Development of Musical Tuning Systems (PDF), pp. 9, 13, archived from the original (PDF) on 1 July 2013, retrieved 24 May 2020
- ISBN 978-1412055383.)
{{cite book}}
: CS1 maint: location missing publisher (link - ^ Whittall, A. (2002, p. 259) "Circle of Fifths", article in Latham, E. (ed.) The Oxford Companion to Music. Oxford University Press.
- ^ Taruskin 2010, p. 184.
- ^ Taruskin 2010, p. 188.
- ^ Scruton, R. (2016, p. 121) The Ring of Truth: The Wisdom of Wagner's Ring of the Nibelung. London, Allen Lane.
- ^ Gioia 2012, p. 115.
- ^ Gioia 2012, p. 16.
- ^ Scott, Richard J. (2003, p. 123) Chord Progressions for Songwriters. Bloomington Indiana, Writers Club Press.
- ISBN 978-0-07-131828-0.
- ^ "You Never Give Me Your Money" (1989, pp. 1099–1100, bars 1–16) The Beatles Complete Scores. Hal Leonard.
- ^ Oakes, Tim (June 1980). "Mike Oldfield". International Musician and Recording World. Retrieved 19 February 2021 – via Tubular.net.
- ^ Fekaris, D. and Perren, F. J. (1978) "I Will Survive". Polygram International Publishing.
- ^ Tennant, N. and Lowe, C. (1987, bars 1–8) "It's a Sin." Sony/ATV Music Publishing (UK) Ltd.
- ^ Moroder, G., Bellote, P. and Summer, D. (1975, bars 11–14) "Love to Love you, Baby" 1976, Bulle Music
- ^ McCartin 1998, p. 364.
- ^ "Foulds, John, A World Requiem, Op. 60, pp. 153ff".
- ^ "Ewald, Victor, Quintet No 4 in A♭, Op. 8 for Brass Quintet [211.01]".
Sources
- Barnett, Gregory (2002). "Tonal Organization in Seventeenth-century Music Theory.". In Thomas Christensen (ed.). The Cambridge History of Western Music Theory. Cambridge: Cambridge University Press. pp. 407–455.
- ISBN 9780199769155.
- Goldman, Richard Franko (1965). Harmony in Western Music. New York: W. W. Norton.
- Jensen, Claudia R. (Summer 1992). "A Theoretical Work of Late Seventeenth-Century Muscovy: Nikolai Diletskii's "Grammatika" and the Earliest Circle of Fifths". JSTOR 831450.
- Lester, Joel (1989). Between Modes and Keys: German theory 1592–1802. Stuyvesant: Pendragon Press.
- McCartin, Brian J. (November 1998). "Prelude to Musical Geometry". JSTOR 2687250. Archived from the originalon 2008-05-17. Retrieved 2008-07-29.
- ISBN 2-267-00500-X).
- Taruskin, Richard (2010). The Oxford History of Western Music: Music in the Seventeenth and Eighteenth Centuries. Oxford University Press.
Further reading
- D'Indy, Vincent (1903). Cours de composition musicale. Paris: A. Durand et fils.
- Lester, Joel. Between Modes and Keys: German Theory, 1592–1802. 1990.
- Miller, Michael. The Complete Idiot's Guide to Music Theory, 2nd ed. [Indianapolis, IN]: Alpha, 2005. ISBN 1-59257-437-8.
- Purwins, Hendrik (2005)."Profiles of Pitch Classes: Circularity of Relative Pitch and Key—Experiments, Models, Computational Music Analysis, and Perspectives". Ph.D. thesis. Berlin: Technische Universität Berlin.
- Purwins, Hendrik, Benjamin Blankertz, and Klaus Obermayer (2007). "Toroidal Models in Tonal Theory and Pitch-Class Analysis". in: Computing in Musicology 15 ("Tonal Theory for the Digital Age"): 73–98.