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Pathways to Harmony

Pathways to Harmony . Chapter 4: Half and whole steps, major scales and the circle of fifths 4.6 Choosing Chords with the Circle of Fifths. So what does the circle of fifths have to do with real music?.

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Pathways to Harmony

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  1. Pathways to Harmony Chapter 4: Half and whole steps, major scales and the circle of fifths 4.6 Choosing Chords with the Circle of Fifths

  2. So what does the circle of fifths have to do with real music? • In presentation 4.4 the circle of fifths was used to change keys in the middle of a piece

  3. So what does the circle of fifths have to do with real music? • In presentation 4.5 the circle of fifths was used to change keys in the middle of a piece • In this presentation we will see and hear how the circle of fifths is used…

  4. So what does the circle of fifths have to do with real music? • In presentation 4.5 the circle of fifths was used to change keys in the middle of a piece • In this presentation we will see and hear how the circle of fifths is used… • to choose chords in folk and popular music, and

  5. So what does the circle of fifths have to do with real music? • In presentation 4.5 the circle of fifths was used to change keys in the middle of a piece • In this presentation we will see and hear how the circle of fifths is used… • to choose chords in folk and popular music, and • to choose chords in classical music and in jazz

  6. 1. Choosing chords in folk music • Composers of folk songs and popular music often use just three chords for a piece.

  7. 1. Choosing chords in folk music • Composers of folk songs and popular music often use just three chords for a piece. • They consistently choose chords named after:

  8. 1. Choosing chords in folk music • Composers of folk songs and popular music often use just three chords for a piece. • They consistently choose chords named after: • the key of the piece and

  9. 1. Choosing chords in folk music • Composers of folk songs and popular music often use just three chords for a piece. • They consistently choose chords named after: • the key of the piece and • the letters on either side of the key on the circle of fifths.

  10. For instance "She'll be Comin' Round the Mountain" has these chords when it is played in D:

  11. For instance "She'll be Comin' Round the Mountain" has these chords when it is played in D: • D (the chord of the key itself),

  12. For instance "She'll be Comin' Round the Mountain" has these chords when it is played in D: • D (the chord of the key itself), • A (the letter next to D moving clockwise) and

  13. For instance "She'll be Comin' Round the Mountain" has these chords when it is played in D: • D (the chord of the key itself), • A (the letter next to D moving clockwise) and • G (the letter next to D moving counter-clockwise).

  14. This music is in D (F's and C's are sharp).

  15. This music is in D (F's and C's are sharp). • The chords, D, A and G are shown:

  16. This music is in D (F's and C's are sharp). • The chords, D, A and G are shown: • as letters above the staffs and

  17. This music is in D (F's and C's are sharp). • The chords, D, A and G are shown: • as letters above the staffs and • as the bottom note of the bottom staff

  18. This music is in D (F's and C's are sharp). • The chords, D, A and G are shown: • as letters above the staffs and • as the bottom note of the bottom staff • PLAY the piece

  19. 2. Choosing chords in classical music and in jazz • Many classical and jazz composers tend to choose chords differently than folk and popular composers.

  20. 2. Choosing chords in classical music and in jazz • Many classical and jazz composers tend to choose chords differently than folk and popular composers. • In classical and jazz music a whole series of chords may be chosen at a time.

  21. 2. Choosing chords in classical music and in jazz • Many classical and jazz composers tend to choose chords differently than folk and popular composers. • In classical and jazz music a whole series of chords may be chosen at a time. • The letter names of these chords tend to progress counterclockwise around the circle of fifths.

  22. 2. Choosing chords in classical music and in jazz • Many classical and jazz composers tend to choose chords differently than folk and popular composers. • In classical and jazz music a whole series of chords may be chosen at a time. • The letter names of these chords tend to progress counterclockwise around the circle of fifths. • At the end of the piece--the most memorable part--this series of chords will end on the chord of the key of the piece.

  23. Elgar's "Pomp and Circumstance" is in the key of G, and so its last chord and last note are G.

  24. Elgar's "Pomp and Circumstance" is in the key of G, and so its last chord and last note are G. • The chords leading up to and including the end of the piece have letter names which follow the circle of fifths: B,

  25. Elgar's "Pomp and Circumstance" is in the key of G, and so its last chord and last note are G. • The chords leading up to and including the end of the piece have letter names which follow the circle of fifths: B, E,

  26. Elgar's "Pomp and Circumstance" is in the key of G, and so its last chord and last note are G. • The chords leading up to and including the end of the piece have letter names which follow the circle of fifths: B, E, A,

  27. Elgar's "Pomp and Circumstance" is in the key of G, and so its last chord and last note are G. • The chords leading up to and including the end of the piece have letter names which follow the circle of fifths: B, E, A, D,

  28. Elgar's "Pomp and Circumstance" is in the key of G, and so its last chord and last note are G. • The chords leading up to and including the end of the piece have letter names which follow the circle of fifths: B, E, A, D, and finally G.

  29. Elgar's "Pomp and Circumstance" is in the key of G, and so its last chord and last note are G. • The chords leading up to and including the end of the piece have letter names which follow the circle of fifths: B, E, A, D, and finally G. • PLAY the ending of "Pomp and Circumstance."

  30. Summary • The circle of fifths is more than an elegant way to organize scales.

  31. Summary • The circle of fifths is more than an elegant way to organize scales. • It permeates almost all the music we hear…

  32. Summary • The circle of fifths is more than an elegant way to organize scales. • It permeates almost all the music we hear… • as reflected in its keys (4.5), and • as reflected in its chords (4.6)

  33. Summary • The circle of fifths is more than an elegant way to organize scales. • It permeates almost all the music we hear… • as reflected in its keys (4.5), and • as reflected in its chords (4.6) • The circle of fifths is the very foundation of Western tonal music.

  34. Now it's your turn USE a copy of the circle of fifths to answer the following questions. WRITE down your answers. Correct answers are on the last slide. 1. NAME the 3 most common chords which folk and popular composers use when the key is a. G b. A c. C

  35. Now it's your turn 2. NAME the letters for the last three chords of a jazz or classical piece if the piece is in • E-flat • D

  36. ANSWERS! 1. a. G, C and D b. A, D and E c. C, F and G 2. a. F, B-flat and E-flat b. E, A and D

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