The Circle of Fifths (part 1)

(image taken from: www.world-of-songwriting.com)

The circle of fifths plays a very important role in many aspects of western music.  It sets the order to our key signatures.  For those who are new to this concept, the key of C major has no sharps or flats.  If we ascend five notes counting C as one (within the key of C) we reach G.  The key of G major has one sharp (F#).  If we ascend another fives notes counting G as one (within the key of G) we reach D (two sharps) and so on.  Descending from C in the same manor derives the flat keys in order.  The same is true of the minor keys aside from the fact that A minor is the starting point (no sharps or flats).

In addition, the circle of fifths plays a major role in harmonic motion.  The most significant harmonic motion in western music is the cadential motion from V to I.  Most tonal music travels on a harmonic path that eventually ends with this cadence.  The V chord contains two elements that cause a musical tension that our ears automatically wish to resolve (to the I chord).  First, the third interval of the V chord is the leading tone of the key.  Our ears tend to want to resolve this pitch to the tonic.  In addition, the tonic of the V chord is one step away (within the circle) from the tonic of the I chord (the key).  This means that the seventh of a V7 chord is the flat version of the pitch that creates the difference between the key signature we are in (I) and the next key signature in the circle (V).  If that pitch is raised half a step we are now in the next key of the circle (V becomes I).  When that pitch remains lowered our ears perceive a flat leading tone that does not resolve to a nonexistent key within the same chord that contains the actual leading tone is the leading tone of the actual key.

Simple forms of music capitalize on this harmonic relationship by making it the only component of harmonic motion.  This is true in both major and minor keys, however, I will focus my explanation on major keys for the sake of simplicity.  Many pop, rock and folk songs only contain the chords I, IV and V.  The IV chord is not only a fourth above the I, but also a fifth below.  Traveling from the I to the IV creates a fake sense of cadential V-I movement.  This is followed by movement from the actual V back to I.  Another option is to travel from I to ii.  The ii chord is a fifth above the V chord.  Therefore a ii-V-I movement creates a sense of falling fifths.  This sense can be further expounded by use of the vi chord.  The vi chord is a fifth above the ii chord.  A I-vi-ii-V-I progression creates an even longer sense of falling fifths. 

More complex forms of music use this fifth relationship to temporarily travel to other key centers.  These are the types of progressions that are found in soul, gospel and jazz music.  I will discuss them in next week’s blog entry.  

Understanding Why

               In the study of musical performance, there are many factors that can impede or enhance the effectiveness of one’s practice.  One such factor is the ability to understand why we are practicing a particular musical element and how it applies to our playing.  Understanding the application of our practice elements provides incentive, focus and direction. 

               As a child I studied scales in preparation for NYSSMA solo festivals (NY state adjudicated solo festivals).  This was not a regular part of my practice routine.  I would try to memorize the required scales several months before my audition date, and then omit scales from my practice routine after completing the audition.  My purpose for learning scales was to achieve a high grade at NYSSMA.

               Later on I began to play saxophone in a band composed of guitars and drums.  These groups played in guitar friendly keys (concert E, D and G) which left me in the keys of Db, B or E (on my alto sax).  Their only form of music was lead sheets that consisted of the words and chords (no notation), and they only possessed concert versions of these sheets (not transposed for my key).  I then realized the true purpose of practicing scales.  I needed to become comfortable enough with these difficult key signatures to be able to play freely and uninhibited. 

               Scales are just one example of the many musical elements that we practice in our pursuit of musical performance.  The more we understand about the purpose and application of studying these elements, the more successful our practice becomes.  Often this understanding does not occur until we face a performance situation that demands it.  Pursuing various performance opportunities and the knowledge of teachers with vast performance experience will help to accelerate our growth in this aspect of musical performance.

It’s Not Just What You Play – But How You Play It

                I am constantly reminding my students that music is not just composed of notes.  Many students are conformed to a one-track way of thinking.  They look at a sheet of music and (if they can read it) read the letters.  Really good students may also include reading the rhythm.  The other musical elements are often ignored.

However, a musical composition started as a sonic idea in the composer’s mind.  That idea consisted of many different characteristics from the moment it was conceived.  A specific expression of emotion was connected to the sound before it was even put down on paper.  The composer tried to convey this emotion by using dynamic, tempo, phrase, articulation and other markings.  He was using a feeble collection of symbols to describe the sound that was in his head. 

As musicians we need to investigate the pieces of music that we are practicing.  This starts by identifying and understanding each musical symbol on the page.  Next, these symbols must be considered within the context of the music, the time in which it was written and the composer who wrote it.  Finally, we must read between the lines by connecting the symbols on the page with our knowledge and our own emotions.  Based on what we see and what we know of music, we must ask ourselves, “What do I feel when playing this?”  Then we must learn to properly express that feeling through our instrument. 

A truly successful performance expresses more than just musical symbols.  Top level performances capture the emotion suggested by the music, and convey that emotion to the audience.  This aspect of musical performance is what causes an audience to want to listen.  It also causes each performance to be unique, since the emotion of the piece is mixing with the performers own emotions.  An audience can experience two performances of the same piece of music (by two different performers) and receive different interpretations.  Every performance is a unique opportunity for a new expression to be presented.   

Common Tones

               I was practicing the changes of "All The Things You Are" (out of The New Real Book) the other day and reflecting on what a well written song it is.  For me, the best quality within the song is the structure of the chord changes and the common tones within the voicings.  There are so many beautiful ii - V - I progressions within this tune that weave through a variety of key centers.  Each time this happens a few pitches change while much of the voicing remains intact.  These beautiful harmonic changes occurring across minimal motion cause the ear to be intrigued and captivated. 

                Even outside of the ii - V - I progressions there are moments of common tone chord metamorphosis.  My favorite example of this is the change for Abmaj7 to Am7b5 toward the end of the A section.  These are two very different chord qualities, and they produce very different sounds.  At first glance, a piano player may think, "Wow, this is going to be a drastic change!  How should I voice it?"  After further analysis, however, you realize that the upper pitches can remain motionless as the bass moves up chromatically.  This slight chromatic motion in the base line transforms on chord into another and shifts you into a totally different key center.  In an age of predictable pop songs it feels good to listen to a classic such as this and have your ear challenged for a change.