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The Key Cycle

Lesson 3/69 | Study Time: 5 Min
The Key Cycle

The Key Cycle

There are many reasons why you need to be able to play equally well in every key. Bands often have to play in keys that suit their singer. That could be F# or Db for example. Keyboard players tend to like the keys of C, F and G, while E and A are fairly common keys for guitar. Horn players like flat keys such as F, Bb and Eb. Apart from this, Jazz tunes often contain many key changes in themselves. For these reasons, you need to learn how keys relate to each other so you can move quickly between them.

One way to do this is to use the key cycle (also called the cycle of 5ths or cycle of 4ths). It contains the names of all the keys and is fairly easy to memorize.

Think of the key cycle like a clock. Just as there are 12 points on the clock, there are also 12 keys. C is at the top and contains no sharps or flats. Moving around clockwise you will find the next key is G, which contains one sharp ( F#). The next key is D, which contains two sharps ( F# and C# ). Progressing further through the sharp keys each key contains an extra sharp, with the new sharp being the 7th note of the new key, and the others being any which were contained in the previous key. Therefore the key of A would automatically contain F# and C# which were in the key of D, plus G # which is the 7th note of the A major scale. When you get to F #(at 6 o’clock), the new sharp is called E # which is enharmonically the same as F.

Remember that enharmonic means two different ways of writing the same note. Another example of enharmonic spelling would be F # and Gb.

This means that Gb could become the name of the key of F#. The key of F# contains six sharps, while the key of Gb contains six flats - all of which are exactly the same notes.

If you start at C again at the top of the cycle and go anticlockwise you will progress through the flat keys. The key of F contains one flat ( Bb), which then becomes the name of the next key around the cycle. In flat keys, the new flat is always the 4th degree of the new key. Continuing around the cycle, the key of Bb contains two flats (Bb and Eb) and so on. Practice playing all the notes around the cycle both clockwise and anticlockwise. Once you can do this, play a major scale starting on each note of the cycle. In Jazz, there is a lot of movement around the cycle, so the more familiar you are with it, the better.

Peter Gelling

Peter Gelling

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Class Sessions

1- INTRODUCTION 2- More About Major Scales 3- Sharps (<span class="symbolA">#</span>) and Flats (<span class="symbolA">b</span>) 4- Playing the Chromatic Scale 5- Solving Reading Problems 6- More About Keys and Key Signatures 7- Transposing 8- More About Blues Scales 9- Understanding Intervals 10- Minor Keys and Scales 11- Notes on the Chromatic Harmonica 12- Relative Keys 13- Performing in Public 14- Interval Qualities 15- Playing Octaves 16- The Key Cycle 17- The Harmonic Minor Scale 18- Sharp Key Signatures 19- Enharmonic Notes 20- Learning a New Minor Key 21- Major Scale Pattern 22- Overcoming Nerves 23- The Chromatic Harmonica 24- The Chromatic Scale 25- The C Major Scale 26- Swinging Notes 27- Intervals 28- Breathing Indicators 29- The Key of E Minor 30- Interval Distances 31- Major Scales in all Keys 32- The Melodic Minor Scale 33- Minor Scales in all Keys 34- Flat Key Signatures 35- The Blues Scale 36- Holding the Chromatic Harmonica 37- Eye Contact 38- The G Major Scale 39- Range of the Chromatic Harmonica 40- Table of Minor Scales 41- Understanding Music 42- Stage Presence and Stage Craft 43- Identifying Intervals by Ear 44- Using the Slide 45- Key Signatures 46- Using the Key Cycle 47- Note Values 48- Understanding Note Values 49- Developing Your Own Style 50- The F Major Scale 51- Jam Along Progressions 52- Standard Music Notation 53- Learning the Notes on the Staff 54- The Metronome 55- Microphones 56- Developing Your Music Reading 57- Keeping Time 58- Microphones for Performing Live 59- Playing Songs 60- Amplification 61- Slurs 62- Overdrive 63- Cut Common Time 64- Approach to Practice 65- Reading Without Numbers 66- Listening 67- Transcribing 68- Recording Yourself 69- Learning More about Music

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