In this lesson we’ll step away from our instruments and get out our trusty pen and paper as we slowly learn the steps on how to build the entire circle of fifths along with modal formulas. The reason why we want to do this is because it will create a map for you to use so that it is easier find your way through all of the musical options and zero in on what YOU want to write. It will also help you see how musical concepts work together as we analyze songs. While there are tons of free versions of the circle on the internet, but it is important to eventually get to a point where you have the circle memorized.
The most important part of this lesson is to TAKE YOUR TIME. There is no rush. There are no deadlines. If drawing the circle and getting three letters written down is all you can do, then that is a great place to start. Write out what you can, walk away from music for a bit, and then come back a recall what you know. The more you recall information, the more you with OWN that information. From there you can learn a little bit more and slowly build upon your own knowledge.
Be sure to continue to practice your chords, modes, rhythm, functional harmony, and analysis while we start learning how to construct the entire circle of fifths. Some great resources to use are simple things like jam tracks on the internet and having fun while learning your favorite songs.
Below are some quick reference diagrams on building the circle of fifths, which can also be found in my main article on the circle of fifths called, “Getting Started with the Circle of Fifths.”
Feel free to check it out along with the other articles in my archives and some quick examples on various topics on my Instagram page.
Creating the Complete Circle of Fifths & Modes in 8 Steps
Step 1: Start with the modes of the C Major Scale organized in fifths. Now draw a circle, write out the modes on one side, and notes on the other side.
Step 2: Draw 4 positions at the top, bottom, left, and right of the circle. Then add two positions between each of the original four so you have a total of 12 positions. Put the same notes on the circle in the same order so that C is at the top of the circle. The right side is called the “sharp side” because these keys only use sharp notes. We’ll finish the sharp side by adding two more keys: F# and C#. Think of it like repeating the notes F, C, G, D, A, E and B, but only needing the first two notes as sharp notes.
Step 3: To complete the circle with notes we need to add in the “flat side” notes. This time we’ll take the opposite of the note order on the left (B, E, A, D, G, C, and F) and make them all flat. Notice how we don’t write out Fb. This is because there are only three keys that overlap, which are all at the bottom of the circle.
Step 4: Write out the notes in the key of C, which have no sharps or flats. Then start writing the notes for the sharp side of the circle. Each time you go to a new key you (1) start with the fifth degree note of the previous key, (2) write out all the same notes including and sharp notes, and (3) sharpen the new seventh degree. So going from the key of C to G we (1) start with C’s fifth degree of G, (2) write out the same notes starting at G (G, A, B, C, D, E and F), (3) and then sharpen the new seventh degree making F and F#.
Step 5: Add in the notes for the flat side. (1) Start with the fourth degree note of the previous key, (2) write out all the same notes along with and flat notes, and (3) flatten the new fourth degree note. Going from the key of C to F we (1) start with C’s fourth degree of F, (2) write out the same notes starting at F (F, G, A, B, C, D and E), and (3) flatten the new fourth degree changing B into Bb.
Step 6: Notate the number of sharps or flats in each key, which simply goes from 0 starting at C to 7 sharps and 7 flats as we travel around the circle.
Step 7: Write out the modes in the order that we play them in the Major Scale with roman numeral degree numbers at the top. These modes line up with each note in every key. The first degree note starts the Ionian mode, while the sixth degree note starts the Aeolian mode. If you want to know your relative minor keys, then just look at the sixth degree note because Relative Minor is just another name for Aeolian. The roman numerals help to remind us which modes are major, minor, or diminished.
Step 8: Add the degrees of each mode on the right. Start with Lydian, which has a #4. As you go down the list you’ll add flattened degrees in the order 4, 7, 3, 6, 2, and 5. Notice how we flatten 4 and 7, then the degrees to the left of 4 and 7 which are 3 and 6, followed by the degrees left of 3 and 6 which are 2 and 5.
With this we can see that the key of C has C Ionian. If we go to the sharp side of the circle we sharpen Ionian and get C Lydian in the key of G. If we go to the flat side of the circle we flatten Ionian and get C Mixolydian in the key of F. We can keep flattening our C mode until we get to C Locrian in the key of Db. The next flat key of Gb starts the list on the right over with Cb Lydian. This would be equivalent to flattening Locrian’s 1st degree to create Lydian. We can find that the same is true when we start with C Lydian in the key of G and sharpen that mode to become C# Locrian. This time we are sharpening Lydian’s 1st degree to create Locrian.
Looking at the list of notes on the left we can see that this is the order of sharps as we add them to keys. For example, the key of A has three sharps and are sharp versions of the first three notes from this list: F#, C#, and G#. Flat keys take the notes from list on the left in reverse order. The key of Eb has three flats, which are Bb, Eb, and Ab. These orders work for all fifteen keys.
You’ll want to memorize all of this so please take your time. Learn a little bit and write out what you can every day. It WILL take take so be patient with yourself and you WILL get it. Once you have this all down, continue to write it all out so that you will own these concepts. You can do it!
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