I know many of you don’t care for music theory. It’s clinical, it’s boring, and it sucks the soul out of songwriting. Well, news flash: you’re using music theory whether or not you intend to. For myself, I know my theory pretty well, as I learned it at young age. I couldn’t tell you if I’m playing in a Mixolydian or Phrygian mode, though, except that it’s fun to throw “Phrygian” into normal conversation.

Case in point: the Circle of Fifths (the Circle). Download a hi-res copy here. I’ve been asked before if a certain chord progression is an example of the Circle of Fifths. The question is missing the point. The Circle of Fifths isn’t a technique like modulation or chord substitution. It’s a way of understanding the essential elements of western music: the notes, the intervals, the chords, and the relationships between them.

It’s the relationships between chords that make a chord progression. Referring to the Circle of Fifths can help you discover interesting chord progressions, particularly when you’re stuck for what the next chord wants to be.

Just like clockwork

The Circle looks much like a clock. Just like there are 12 hours on a clock, there are 12 notes on the Circle. (If you haven’t downloaded a copy yet, you’ll want to so you can refer to it as you read the rest of this article.)

Moving clockwise, each note is a fifth above the last one. A fifth, as we know, is the third note of a major or minor triad (3-note chord), and the fifth note of any major or minor scale. For example, the C-major chord is C-E-G. The G is a fifth above C, and one “hour” past C on the Circle of Fifths. Similarly, an A-major chord is A-C#-E. The E is a fifth above A, and one segment after A on the Circle. This pattern holds true for any starting point on the Circle of Fifths.  And it comes full circle; if you start on C and go up a fifth 12 times, you’ll be back to C.

Why are fifths so important in music? Check out my post: The Perfection of the Perfect Fifth.

The Circle can also be used to represent chords. The outer circle refers to major chords, and the inside circle to their relative minor chords. Remember, the relative minor is always the vi chord in a major key.

For example, in the key of C-major, the 6 major and minor chords are:

How many songs in C use a variation of these 6 chords? Many popular songs use only 3 or 4 of them. Now look at the Circle of Fifths. The chords touching the C-major are the other five major and minor chords in the key of C major.

Just like the notes, this hold true for whatever key you’re in, or your base starting point on the Circle. In the key of G, all the chords touching the G correspond to the other major and minor chords in that key.

There’s also a great youTube video that explains this well, specifically for guitarists.

Get experimental

Developing a chord pattern based on the six major or minor chords is tried and true. Even if you use the I, IV, and V chords in your verse and chorus, you could try starting with the ii, iii, or vi chord for your bridge. All the notes you’re using belong to the scale you’re in—i.e. you’re never going out of key.

Raise your hand if you’ve ever used a seventh chord. That’s the one that sounds bluesy or jazzy. It’s called a seventh chord because it’s a major chord plus a flattened seventh note. That is, the seventh note of the scale is taken down by one half-step or semitone. That note is out of key, technically, and it sounds Phrygian awesome (see? It works).

The point here is that going out of key is cool. It creates musical interest, adds tension and can really open up a song.

So how does this relate to the Circle of Fifths, you must be asking? Say you’re writing a song in the key of C-major, and you’re using the tried and true chords—the ones on the Circle that touch C. If you want to extend a little, say for your bridge, or heck, the third line of your verse, try a chord that’s “two hours away” from C. So, try a D-major, B-minor, Bb-major, or G-minor.  Just like the seventh chord, these chords have one note that’s out of the base key signature or scale. The other two notes of each chord remain grounded in the base key signature.

If you want to experiment further, try the chords that are “three hours away” from your I-chord. Once you start introducing chords that have two notes out of key, things start sounding weirder or more dissonant. The trick here is to stay grounded in your home base. It’s fun to travel to strange and exotic places, but it’s reassuring to come back home soon.

And of course, this holds true right around the clock. You can start on any chord and you’ll have five other chords that are guaranteed to work in consonant harmony with it. Include chords that are 2 or 3 hours away from your base, and things can get interesting.

A fine example

The Beatles were masterful at creating interesting changes in the songs without compromising catchiness. In other words, they did some weird stuff without making it sound weird.

Take Something as a good example. Written by George Harrison for the Abbey Road album, Something borrows a chord 2 hours away from the base in the verse, and modulates to another key, 3 hours away, for the bridge. In addition, the musical interlude that connects all the sections of the song use a chord 3 hours away in the other direction.

See the chord progression here. Something starts clearly in C-major, but Harrison borrows a D-major 7 when he sings “and how” to extend the brightness of the verse.

For the musical interlude, the chords are F Eb G C. The Eb is the outlier here, being “3 hours away” from our base key signature of C. It’s only for a beat, but it gives the interlude much character.

Then, for the bridge, he flips to the other side of the Circle of Fifths and modulates to A-major. This clockwise modulation really brightens up the bridge, along with the melody and instrumental arrangement. It’s certainly the high point of the songs’ energy map.

Look at the way Harrison uses the musical interlude to go in and out of the bridge: F Eb G C in the verses, and F Eb G A into the bridge, and F Eb G C again to return to the solo and final verse. Simple and effective.

Light a new path to songwriting

I co-wrote a song called Light Your Way with Adi Aman for our band Beige Shelter. We released it for Mental Health Awareness month in May 2017.

Download the chord/lyric sheet here.

The verse, pre-chorus, and chorus all remain in the E-major key with no dissonant chords. The pre-chorus introduces the F#m chord which wasn’t used in the verse. For the guitar solo section and bridge, we flipped over by “3 hours” to the C#-major chord. By the end of the bridge, we’re back on B-major which is perfectly consonant with returning to E-major for the final choruses. Sometimes when you step far away from your base key signature, it can be tricky to get back to base.

Writing with purpose

I don’t deny that sometimes you just stumble upon some magical moment when you’re writing; you don’t know why it works, but it sounds cool and different, and you go with it. For myself, I’ve been trying to embrace my intuition for writing more recently. Knowing about the theory doesn’t destroy your intuition; in fact, I think it strengthens it. If you practice writing with purpose enough, you’ll begin to forget the reasons you make excellent snap decisions, but you’ll make better ones and feel more confident that they’re right. Keep on writing.