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Circle of 5ths

I’ve had questions from students lately about the circle of 5ths, so I’m recycling this post, the 10th in a songwriting series that I wrote a while ago.

Here it is.

 

How to write chord progressions a pro would love, part 10: Circle of 5ths.

Since you’ve looked at the first nine instalments in this songwriting series (right?), you can now can write a chord progression and place it in a song form. The problem is, you can only do it in the key of C. How do we take all this knowledge and apply it to any other key we want?

Before we answer that question, we need to talk about a little piece of magic called the circle of 5ths.
But before you read this, do yourself a favour and check out this great post about the circle of 5ths from Musical-U.com. Or read it after, if you want. Just read it.

Circle of 5ths

If you’re feeling queasy, you’re not alone. Musical jargon makes people think theory, and when people think theory, they think “no fun anymore.” But what you need to know is that with each new piece of knowledge you acquire, things get easier. And you become better than most of the other guitar players out there.
And it’s not hard.  Here it is.
  circle of 5, guitar
Just look at the top of the circle. The bottom will look scary. There’s a lot of information down there, and there’s something frightening about a lot of information all at once. Let’s make it easy.
You’ll see a short 5-line staff at the top with a treble clef ( & ). Above it is the letter C. Notice there are no sharps (#) or flats (b). This lack of information should make you happy. This is the simplest key there is. We’ll use it a lot.

Clefs

I mentioned the treble clef in part 4 of this songwriting series. This is a symbol placed at the beginning of a musical staff so that those who care can tell what the note names are. You should probably care. It’s ok if you don’t.
There are a lot of different clefs. Here’s four of them.
 clefs
For what we’re doing, you only need to know the treble clef. The rest is there for those of you who like more information.

Back to the circle

Go clockwise around the circle one step, and you come to a new key, the key of G. Look at the 5-line staff and you’ll see one sharp – F#. To spell the key of G we go in a circle (like we did for the key of C in part 1 of this series) from G to G, but now we add an F# to the alphabet.
G   A   B   C   D   E   F#   (G)

Chords in G major

Here’s what the chords in the key of G major look like.
  chords in the key of Gmaj 2
Compare this sequence of chords to the sequence in C major. See any similarities?
The first chord in both keys is a major chord; the second chord is minor. Continue to compare, and you’ll see that all of the chords in both keys relate to each other in this way.  And this is the same in every key!
Just like before we label the chords with roman numerals.
I                    ii             iii             IV             V            vi                viii
G Major  A Minor   B Minor   C Major   D Major   E Minor   F# Diminished
  
The pattern you see there – maj, min, min, maj, maj, min, dim – stays the same for every key.

Finding a key

To find a key, all you need to do is choose a letter. That letter will be the name of the key. Then look on the circle of 5ths diagram. Find that letter, and look at the number of sharps or flats. Then spell the alphabet starting with the letter that you chose, and insert the sharps or flats. Example: key of A = A B C D E F G. Insert the sharps that you see beside “A” on the circle of 5ths and you get: A B C# D E F# G#.
Some of you might be wondering how I know  the names of those sharps.
Check out Part 11 for that.
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Teaching rhythmic notation in guitar lessons

Some teachers avoid theory in guitar lessons in favour of giving students something they like. No note-reading or rhythmic notation unless the student is interested in doing that.

I get it. Make sure you give them what they want so that they enjoy themselves, have a positive experience, and keep coming back.

But this can go too far, and it’s not necessary to eliminate all vestiges of theory. This strikes me as an unreasonable fear of losing students.

Beginners

I take the following approach with beginners.

At the beginning of guitar lessons, I do what the teachers I mention above do: give them only what they want, and help them make sounds that they like. Students need to be motivated, and guitar is hard enough without being made to learn notation right at the beginning. It’s ok if the first six months are nothing but song after song, slowly adding more challenges.

But once they get to a certain level, rhythmic notation can be introduced without fear. I find that, in general, students like to have some technical know-how. Rhythmic notation is relatively easy to learn, and it provides vocabulary for discussing more interesting rhythmic topics. Notes can wait; rhythm doesn’t need to. Besides, it can be enjoyable.

Here’s what I do.

Clapping quarter notes

During guitar lessons, have the student clap at an even tempo that is comfortable for them. Then find that tempo on a metronome, and have them clap to the metronome. Tell them that you’re going to write down the rhythm that they’re playing, then do so. Make sure that they keep playing as you do this. This provides instant visual feedback for what they’re doing, and connects their bodily movement with the parts of the brain that process symbols.

Give them vocabulary for what they’re doing, and for what you’re writing. For instance, “You’re clapping quarter notes, and this is what quarter notes look like.”

Clapping eighth notes

Now have them clap twice as fast; keep the metronome on quarter notes. This gives them the sound of notes between quarter notes. Make sure they’re clapping evenly. If necessary, have the metronome play the eighth notes, or clap along with the student  to model the correct placement.

As they’re clapping, write down eighth notes, and give them vocabulary for what they’re doing as you did with quarter notes. Change tempos so that they can get a feeling, both physically and emotionally, for what that is like.

Once they can clap eighth notes in a few different tempos, place quarter rests in the flow of notes on the page. Do this gradually. They should be able to play a rhythmic figure with a single quarter-note rest in a single bar. Have them loop the bar until they can do it easily. Do it in different tempos.

Now play that same rhythm on the guitar.

So now you’ve covered quarter notes, eighth notes, and quarter rests. They will now have a solid physical and cognitive understanding of these concepts. The key is to have them clapping or playing at all times during the process of learning.

You’ve also given them some independence, since they’re now able to pick up guitar books, and understand what’s going on. This is the aim of guitar lessons – give the student the means to learn for themselves.

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Breaking things down

As a teacher, you must be able to break down even the most seemingly easy exercises.

One of the easiest things to do on the guitar is to play the open high E string with a pick. Only your picking hand is involved, and you only need to play one string.

But problems can emerge and the teacher needs to be prepared for them. Simply finding the string with the pick can be difficult. This is a basic spatial problem. For anyone who hasn’t picked up a guitar before, this can be difficult.

If the student has difficulty with this, have them look at the string, place the pick on the string, and then play the string. Once you have played the string, bring the pick back to the string and briefly rest there. Then play. Repeat until this is easy. Then do the same thing with eyes closed.

 

 

 

 

 

 

 

 

That will fix the problem. Do this with all the strings.

 

Playing from string to string

The next step is to move from string to string. Begin by using adjacent strings – E and B; B and G; G and D; D and A; A and E – and simply play one and then the other. Make sure to rest briefly on each string before playing it.

 

 

Pressing frets

For beginners, the 8th fret is a good place to start since it’s easier to press the string into the fretboard than at the 1st fret. Most teachers start in first position, and then move up the fingerboard after that. Reversing this makes the process less frustrating.

Have the student press the string at fret 8 at the front, middle, and back of the fret, and play each time, making sure that their finger is in the proper curved position, looking as though it’s holding a grapefruit.

Which place on the fret is easiest to press down? Which sounds best? Get them to do this with each finger.

Once they can do this, get them to move from one fretted note to another, using different fingers. For instance, play the 8th fret with the index finger, and then play the 9th fret with the middle finger. Continue with the ring finger at the 10th fret and the pinky at the 11th fret.

 

 

Moving from open string to fretted note

The student needs to feel comfortable moving smoothly from an open string to a fretted note. Try the following:

Play from the open E string to the note at fret 5. Play the  E string, rest for a beat, press  fret, play fretted note.

 

Repeat until it sounds smooth. Once mastered, play alternating half notes. For example, alternate the E string with fretting the 5th fret.

 

 

This requires more coordination; the student has to time the pick-stroke with each note. This is especially difficult when fretting; the pick has to meet the string just as the finger presses the note down. The slower you do this, the easier you can hear when it doesn’t work.

When half notes are mastered, move on to alternating quarter notes.

 

One string melody

Now introduce a simple, one-string melody.

 

 

Two string melody

Now get them to play a melody between adjacent strings. 

The point of all this is to demonstrate how to break down something that seems to need very little explanation. Most skills developed on the guitar benefit from this type of scrutiny.

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Lessons in university

I taught guitar in university for ten years. Since there were playing exams at the end of every term, I devised a curriculum that I could test. This involved the students learning chords, arpeggios, scales, etc. and being able to use this material playing pieces and improvising.
By the middle of the term, students knew pretty well everything they needed for the exam. All they needed to do was work on it to bring it up to a high standard. Students came in each week to check with me that everything was going ok.
Except for one guy who would reliably miss lessons just before the exam. One term he missed five in a row.
My obvious concern was that he would fail the exam. This caused me quite a bit of stress; I really want my students to do well.
He came into the exam and totally nailed it. Other students who reliably showed up for lessons didn’t do as well. One of them failed. What was going on?
Well, two things. First of all, this guy practiced. He came to lessons until he was sure that he had all the information he needed, and then he just worked on it. And he worked on it a lot if the exam results are any indication.
The second reason was more compelling, at least for me: my lessons weren’t interesting enough to show up for. I was basically drilling students on what they needed to know, and giving feedback.
But there was no creative work. I wasn’t discussing ideas, having them write their own exercises, or expand on the material I gave them. None of it was theirs. It was just me saying “Do this,” and then standing in judgement.
For some students, drilling is what they need. In a university environment with timelines and tests and grading, the drilling/feedback model makes sense. Some students just want to get the mark and get out.
But music is about expressing yourself and making things, whether you’re improvising or writing pieces. It isn’t hard to make that part of every lesson. All you have to do is ask, “How would you do this?” Get them to think. Get them to make things.
For some people, it takes longer to buy into this; thinking is harder than just doing what you’re told. But once it kicks in, students come to lessons more engaged and energized. They know that they have responsibility for what they’re learning, and they know that i’m going to give them support and encouragement for the work (or is it play?) they’re doing.
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Achieving success

To achieve success on the guitar, you need to work on it. I’ve developed strategies over the years to help students pick up the guitar and practice. It’s not always easy.

Getting the guitar in your hands

Just picking up the guitar can be hard. Anything that isn’t a habit takes a little more effort, but having a few strategies makes it easier. The following have proven useful for many of my students.
1. Create alerts on your phone for each day of the week. When the alert goes off, you have five minutes to pick up the guitar.
2. Before going to bed, check your schedule for the next day, and write down when you will practice. As a reminder, put that wherever you eat breakfast.
3. Pick up the guitar with the intent of practicing for only five minutes. Students often don’t pick the guitar up because they don’t think they have enough time. But five minutes isn’t long, and once you have the guitar in your hands, you’re usually there for more than five minutes. Especially if you’re trying to get better at something.
4. Use the pomodori technique. This was developed as a way to deal with procrastination. Simply get a timer, set it for however long you want to practice, and then stop as soon as it goes off. This motivates students by removing open-endedness. If you know when you’re going to stop, you tend to be more focused in your practicing, and you’re more likely to actually practice.
5. Have your guitar on a guitar stand, and have the music you’re working on that week on your music stand. Picking up the guitar is easier if you don’t have to prepare to do it. Make sure that you can just walk in your room, pick up your guitar, and start playing.
6. Attach to habit. Practice immediately after something you’re already in the habit of doing. For example, if there’s a show you watch every day at the same time, practice for 15 minutes once it’s done. Or practice right after you play your favorite game.
7. Have the end result uppermost in your mind. For example, if you’re practicing a difficult move between two chords, keep in mind that they’re part of your favorite song. When you’re working on details, it can be difficult to see the big picture.
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Why teach?

Poet William Butler Yeats said the following: “Education is not the filling of a pail, but the lighting of a fire.” I love this, because It implies the discovery-making process for the student, the excitement of encountering new things.

For the teacher, it implies a focus on discovering the interests of the student, and using those interests to establish a relationship in which the student feels valued and heard.

Why teach?

There are many reasons to teach, but for me, it comes down to one thing: the opportunity to have a positive impact on someone’s life. Having that gives me a sense of purpose.

Having a positive impact means helping students:

  • build confidence
  • nurture a sense of self-worth
  • love learning
  • be able to deal with failure
  • become satisfied, well-rounded people

As for me, I get to

  • spend time with interesting people
  • have a positive impact on the lives of others
  • learn more about myself and the needs of others
  • grow and to stretch as a teacher and musician
  • become a better communicator
  • find the key to each student’s growth

Doing this is a privilege. In order to do it well, I strive to bring these qualities to do the work:

  • kindness
  • patience
  • clarity
  • empathy
  • and as the following quote implies, an open mind

“Take risks. Try new things. Encourage creativity. Learn from your students. Expect a lot. But always allow for the unexpected. Don’t be afraid to give your students control, because you will often be surprised at the direction their hearts, thoughts, and dreams will take them… and you.” Angie Miller, English and Language Arts teacher.

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