Pathways to Harmony

1. 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

2. 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…

3. 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)

4. 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

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 • to choose chords in classical music and in jazz (4.6)

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

7. Moving to a new key • 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.

8. Moving to a new key • 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.

9. Moving to a new key • 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.

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

11. 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.

12. 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.

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

14. 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

15. 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

16. 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.

17. 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.

18. Section one: • Key of C

19. Section one: • Key of C • Section two: • Key of G,

20. Section one: • Key of C • Section two: • Key of G, • At the end of the page the piece goes back to section one.

21. 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

22. Now it's your turn USE 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 • E • D-flat • F

23. ANSWERS! 1. a. B b. A-flat c. C