...this thread will discuss the "fundamentals of music theory" as they apply to fretted string instruments (guitars, bass, etc.), it will not discuss "notation" or "tablature" reading.

...Thousands of years ago, the Greeks discovered that a single "vibrating" string not only produced a fundamental tone, but also a series of overtones (also called harmonics or partials).  They discovered that the "fundamental" string vibrations were related to the strings length, while its overtones were always integer multiples (that is 1/1, 1/2, 1/3, 1/5, etc.) of that length. For instance, a vibrating string tuned to Key-of-C would produce the following tones:

1/1 = C-tone, Fundamental (1X)
1/2 = C'-tone, Octave (2X)
1/3 = G-tone, partial
1/4 = C"-tone, double Octave (4X)
1/5 = E-tone, partial
1/6 = G'-tone, octave partial
1/7 = Bb-tone(approx)
1/8 = C'''-tone, triple Octave (8X)
1/9 = D-tone
1/10 = E-tone
1/11 = F#-tone(approx)
1/12 = G"-tone
1/13 = A-tone (approx)
1/14 = Bb-tone (approx)
1/15 = B-tone (approx)
1/16 = C''''-tone, quadruple Octave (16X)

...the Greeks found that the "strongest" tones, beside the Fundamental (C) and its Octaves (C'-C''-C'''-C''''), were the E and G notes, and these three notes (called a triad) played simultaneously had a pleasing sound.

...and, when the the notes were arranged in order from Fundamental through Octave, the following SCALE (or "ladder") of notes was produced: (C)..D..(E)F..(G)..A..B(C')

...notice that the notes comprising the Key-of-C triad are C-note (the fundamental or root), E-note (the third note in the scale) and G-note (the fifth note in the scale), which are everyother note from the scale!

...this same arrangement is still used today, with the individual notes of the SCALE called DEGREES (formally written as Roman Numerals, but simplified to Arabic Numbers) to indicate their position within the scale. Hence:

I = 1 = C, Root <--R in triad
II = 2 = D, 2nd
III = 3 = E, 3rd <--3 in triad
IV = 4 = F, 4th
V = 5 = G, 5th <--5 in triad
VI = 6 = A, 6th
VII = 7 = B, 7th
I' = 8 = C', Octave

...originally, only triad (3-note) chords were played; but later, during the Renaissance years, additional notes were added to chords, forming tetra- (4-note) and penta- (5-note) or more chords.

...the definition of a CHORD is three or more notes played simultaneously, while an ARPEGGIO is the sequential playing (one after the other) of the notes of a chord (think "House of the Rising Sun" for instance)...both CHORDs and ARPEGGIOs can be played forward or backwards, it doesn't matter, but does sound slightly different...with bass-to-treble sounds being more common (but not necessarily in rock-n-rock).

...while the above example begins with a C-note, it is the "key" of the scale that determines what the "fundamental" or "root" note will be, that is, the ROOT note of a "key" is the "fundamental" note (lowest) note of its SCALE, i.e.: the note the SCALE begins on.


REVIEW: what is a SCALE? what is a DEGREE? what is a CHORD? What degree notes typically comprise a chord?

old tele man this is fantastic cheers so a scale is s ladder  goes up in degrees and the chords triads and are made up of 1st 3rd and 5th degrees is this right ?

...correct, a SCALE are the notes (and spacings) between the ROOT and its Octave; a DEGREE is a notes numerical position within the scale; and a triad CHORD is composed of ROOT(R), THIRD(3) and FIFTH(5) degrees of a SCALE <---[ notice how "sneakyly" I tied them all together! ]

...the word SCALE comes from the Italian word "SCALA" which means 'ladder' (almost ALL music terms are Italian based).

...now, look at the key-of-C scale (below) and notice how each "name"-note is directly associated with a DEGREE, e.g.:

C = I or ROOT
D = II or 2nd
E = III or 3rd
F = IV or 4th
G = V or 5th
A = VI or 6th
B = VII or 7th
C' = I' or Octave

...when you play each note of the C-scale (not just the chord notes) in succession, you are obviously playing the "C-scale," but what happens when you "start" to play notes on the 2nd or 3rd, etc. degrees? Well, the succession of notes, started on the other notes in the scale -- that is, NOT the ROOT or OCTAVE -- are called MODES, which the Greeks gave specific names to:

C, D, E, F, G, A, B, C' = Ionian
D, E, F, G, A, B, C, D' = Dorian
E, F, G, A, B, C, D, E' = Phrygrian (pronounced: friggy-ann)
F, G, A, B, C, D, E, F' = Lydian
G, A, B, C, D, E, F, G' = Mixolydian
A, B, C, D, E, F, G, A' = Aeloian
B, C, D, E, F, G, A, B' = Locrian (means: "crying" or "sad")

...if you look closely, you'll recognize that they're ALL THE SAME NOTES, just 'started' and 'stopped' on successively different DEGREE notes!

...NOTE: a SCALE denotes the sequential playing (e.g.: one-after-the-other) of DEGREE notes, but a "HARMONY" denotes the simultaneous playing (e.g.: all at once; a chord) of DEGREES notes that "sound" good together. A songs melody is typically made up of scale notes buty can sometimes also contain non-scale notes.

...thus, a MELODY (or scalar) progression would be playing single notes in a key, while a HARMONIC progression would be playing of chords within a key (more on this in a moment).


REVIEW: what is a MODE? what is the difference between a SCALE and HARMONY? what is the difference between SCALE "notes" and MODE "notes"?

ok so a mode is a scale that is started by degrees/ is  an octave is a 8 notes higher  than the root note ?scale are  notes played  individually while harmony is degrees notes and or oave and root played together  as in a chord (3 or more)and modes are  scales that start with degrees?

beth wrote:

is an octave is a 8 notes higher than the root note?

...yes, the "octave" (Italian for "eighth") is the 8th-DEGREE-note, but when you count the "in-between" sharp(#) and flat(b) notes, it's the 12th "fret" above (and below! e.g.: sub-octave) a ROOT-note.

NAMES OF THE SCALE DEGREES--just as the MODES have individual "names" so too do the DEGREES of a scale:

I = Tonic
II = Supertonic
III = Mediant
IV = Subdominant
V = Dominant
VI = Submediant
VII = Leading Tone

...although I won't use them, they are used quite often.

...also, the scale DEGREES have two basic "movement" characteristics: (a) "active" tones, which want to 'move' or 'resolve' to someother tone; and, (b) "rest" tones, which are 'stationary' and to which the "active" tones will 'resolve' to.

...the "active" and "rest" tones and their characteristic "movement" relationships are:

"active" = II, IV, VI and VII
"rest" = I, III, V and octave (I').

II resolves to either I or III
IV resolves to III
VI resolves to V
VII resolves to 8 or I'

...these movements and resolutions are the basis for the familiar chord changes used in songs.

ok got it thanks

...the "standard" tuning for a guitar (bass to treble, note/string) is E6, A5, D4, G3, B2 and E1, so when we combine the "notes" from a simple C Major triad (meaning 'three') chord, e.g.: Root = C, 3rd = E, 5th = G, we get:



CODE: red diamond = Root note; black-filled circles = all other notes; open circle = "open" string note; "dashed" circle = previous position of changed note.

...to play the notes-of-the C (or Ionian) scale, from ROOT to OCTAVE, simply begin with the C-note on the A5-string and sequentially play each degree note of the scale, progressing toward the B2-string, like this:

C on A5-string at fret 3 <--- the I or ROOT note (chord note)
D on D4-string "open"  <---the II or 2nd note
E on D4-string at fret 2 <---the III or 3rd note (chord note)
F on D4-string at fret 3 <---the IV or 4th note
G on G3-string "open"  <---the V or 5th note (chord)
A on G3-string at fret 2 <---the VI or 6th note
B on B2-string "open"   <---the VII or 7th note
C' on B2-string at fret 1 <---the I' or octave note (repeated root)

...notice that "every other" note is a CHORD note, or stated another way, the note-wise sequence is CHORD(C), scale(D), CHORD(E), scale(F), CHORD(G), scale(A), scale(B) and octave-CHORD(C'); and the "halfstep" notes 'between' the scale notes are generically called "passing tones" but actually do have names (to be covered later).

...Can you "see" how the above C-chord was 'made'? Did you notice that only one chord note per string is played? And, that "open" strings are used where ever possible?

Did you notice that only one chord note per string is played? what do you mean by this

...some people mistakenly think that when a string has two notes on it (such as the E1-string of the C-chord, which has: "open" = 3rd and fret 3 = 5th) that they should "try" to play both...not so...it's one or the other, your choice!

C on A5-string at fret 3 <--- the I or ROOT note (chord note)
D on D4-string "open"  <---the II or 2nd note
E on D4-string at fret 2 <---the III or 3rd note (chord note)
F on D4-string at fret 3 <---the IV or 4th note
G on G3-string "open"  <---the V or 5th note (chord)
A on G3-string at fret 2 <---the VI or 6th note
B on B2-string "open"   <---the VII or 7th note
C' on B2-string at fret 1 <---the I' or octave note (repeated root)
so this is the scale of c?


iam sorry im a bit confused about this what do you mean by 1 chord note per string

...notice that "every other" note is a CHORD note, or stated another way, the note-wise sequence is CHORD(C), scale(D), CHORD(E), scale(F), CHORD(G), scale(A), scale(B) and octave-CHORD(C'); and the "halfstep" notes 'between' the scale notes are generically called "passing tones" but actually do have names (to be covered later).

not sure what your getting at are you saying while strumming you should play one or the other  the D string with a finger on the 2nd fret and the open e string  or play both ?

bit lost by this, to such as the E1-string of the C-chord, which has: "open" = 3rd and fret 3 = 5th

the E1 is an open  E   but the  3rd and fret 3 = 5th not sure, is it 3rd string on 3rd fret is the 5 th note

beth wrote:

C on A5-string at fret 3 <--- the I or ROOT note (chord note)
D on D4-string "open"  <---the II or 2nd note
E on D4-string at fret 2 <---the III or 3rd note (chord note)
F on D4-string at fret 3 <---the IV or 4th note
G on G3-string "open"  <---the V or 5th note (chord)
A on G3-string at fret 2 <---the VI or 6th note
B on B2-string "open"   <---the VII or 7th note
C' on B2-string at fret 1 <---the I' or octave note (repeated root)

so this is the scale of c?

...yes, that is the Ionian Scale in the key of C, shown being started on the ROOT note (C) on the A5-string/fret 3, and progressively played through each DEGREE-note (no intermediate passing tones played) up to the OCTAVE note (C') on the B2-string/fret 1.

beth wrote:

iam sorry im a bit confused about this what do you mean by 1 chord note per string

...for now, when playing a chord, the notes played are NOT changed during strumming...e.g.: "...chord = simultaneous, or all at once, playing."

beth wrote:

...notice that "every other" note is a CHORD note, or stated another way, the note-wise sequence is CHORD(C), scale(D), CHORD(E), scale(F), CHORD(G), scale(A), scale(B) and octave-CHORD(C'); and the "halfstep" notes 'between' the scale notes are generically called "passing tones" but actually do have names (to be covered later).

...this refers to the 8 notes you play in the Ionian Scale in the key of C, with a brief description of the 4 notes that you did not play.

beth wrote:

not sure what your getting at are you saying while strumming you should play one or the other  the D string with a finger on the 2nd fret and the open e string  or play both ?

...yes, one or the other for now; but functionally, "either" note is OK...the ability to switch back and forth (called 'ping-ponging') while simultaneously strumming is considered an advanced technique. Try it, if you can do it now, you've learned an advanced strumming technique (use little finger to make the E1/fet-3 G-note)!

beth wrote:

bit lost by this to: ...such as the E1-string of the C-chord, which has: "open" = 3rd and fret 3 = 5th

...the "open" E1-string is an E-note, which in the key of C is the III or 3rd-degree note; while the fret 3 note on the E1-string is an G-note, which in the key of C is the V or 5th-degree note...both are notes in the C-triad chord, e.g.:

I = R = ROOT (C)
III = 3rd = THIRD (E)
V = 5th = FIFTH (G)

...thus, the "open" E-note and the fretted G-note are, respectively, two notes in the triad C-chord, the 3rd-degree and 5th-degree...since those notes are already present (on other strings) in the C chord their being played again is called "doubling"...and WHICH one you play is up to you, because they're both right.

...does this seem less confusing now?

yes thats cool ok up with you again

..OK, next is the "Circle of Fifths" wheel which illustrates relationships between: (a) the Ionian SCALE; (b) the DEGREES; (c) the "Relative Minor"; (d) the number of SHARPs (#) and FLATS (#); (e) the concept of ENHARMONIC notes/chords.



...some points the "Circle of 5ths" wheel illustrate are:

A) the only "key" with NO sharps of flats is the Key-of-C, the original "Greek" key.
B) the "5ths" progress CLOCKWISE from the Key ROOT.
C) the "4ths" progress COUNTER-CLOCKWISE" from the Key ROOT.
D) the "Relative Minor" chord to the Key ROOT chord is "90-degrees clockwise" from the Key ROOT (I to VIm); for example: C root (I), thus Am (vi) is the "relative minor" chord in the Key of C.
E)  the "tritone" chords are diagonally opposite each other (180-degrees); for example, F and B chords are "tritone" of each other (more on this letter).
F) the DEGREES of a key occupy an offset, 90-degree portion of the circle; for example, below are the DEGREE-notes of the Key of C, see how they are "offset" one from the Root note.



...I expect this will raise LOTS questions, so answers will follow.

now you have totally lost can you give me an example ok take C as the root note how do i figure out the 5th note its G so is the 5th of G, D so it is the note next to the root note your using ?AND so on there is only one 5th per note yes so f is next to the C note counter clock wise so thats a 4th as E is to B  / E is the 4th of B
D) the "Relative Minor" chord to the Key ROOT chord is "90-degrees clockwise" from the Key ROOT (I to VIm); for example: C root (I), thus Am (vi) is the "relative minor" chord in the Key of C./// Not to sure about this or E)  the "tritone" chords are diagonally opposite each other (180-degrees); for example, F and B chords are "tritone" of each other (more on this letter).
F) the DEGREES of a key occupy an offset, 90-degree portion of the circle; for example, below are the DEGREE-notes of the Key of C, see how they are "offset" one from the Root note.
lost with those ones

beth wrote:

take C as the root note how do i figure out the 5th note its G

...all examples are in key of C, so we can refer to the already shown DEGREES (but using arabic numbers instead of the technically "correct" Roman numerals):

1 = C (I = R)
2 = D (II = 2nd)
3 = E (III = 3rd)
4 = F (IV = 4th)
5 = G (V = 5th)
6 = A (VI = 6th)
7 = B (VII = 7th)

...from which, we can see that the 5th degree note (V = 5th) in the Key of C (because I = root = C) is a G note.

beth wrote:

so is the 5th of G, D?

...yes, the note to the RIGHT (clockwise) of a root note is its 5th, thus:

I = C, its 5th is G
I = G, its 5th is D
I = D, its 5th is A
I = A, its 5th is E
I = E, its 5th is B
I = B, its 5th is F#

...similarly, going the other direction (counter clockwise) the note to the LEFT of a root note is its 4th, thus:

I = C, its 4th is F
I = F, its 4th is Bb
I = Bb, its 4th is Eb
I = Eb, its 4th is Ab
I = Ab, its 4th is Db
I = Db, its 4th is Gb (which is "enharmonic" (same sound) as F#)

beth wrote:

example (D) the "Relative Minor" chord to the Key ROOT chord is "90-degrees clockwise" from the Key ROOT (I to VIm); for example: C root (I), thus Am (vi) is the "relative minor" chord in the Key of C.

...later, when we "study" making chords, we'll learn "why / how" the Am is the relative minor of C (ANS: the C6 chord and Am chord contain same notes but in different order).

beth wrote:

example (E)  the "tritone" chords are diagonally opposite each other (180-degrees); for example, F and B chords are "tritone" of each other (more on this letter).

...like the "relative minor," the "tritone" chords are related because they contain similar (but not all) notes but in different order.

beth wrote:

example (F) the DEGREES of a key occupy an offset, 90-degree portion of the circle; for example, below are the DEGREE-notes of the Key of C, see how they are "offset" one from the Root note.

...going back to the DEGREES listing:

1 = C (I = R)
2 = D (II = 2nd)
3 = E (III = 3rd)
4 = F (IV = 4th)
5 = G (V = 5th)
6 = A (VI = 6th)
7 = B (VII = 7th)

...notice on the "Circle of Fifths" how the DEGREES (Key of C) "match-up" with the Circle notes (moving clockwise):

F = (4th) ...left of ROOT (first position left of top)
C = ( R ) ...the Key ROOT tone/note (top of circle)
G = (5th) ...right of ROOT
D = (2nd) ...right of 5th
A = (6th) ...right of 2nd
E = (3rd) ...right of 6th
B = (7th) ...right of 3rd (last position before bottom of circle)

...this is what I meant by "offset", its starting on the 4th degree just LEFT of the ROOT, and stops on the 7th degree just prior to the bottom of the circle (clock analogy: starts at 11:00 and stops at 5:00).

...the "Circle of Fifths" has four VERY useful purposes:

(A) it immediately identifies the 4th and 5th chords to be played in the common I-IV-V (or R-4-5) chord progression, for example:

Key of C: C=I, F=IV, G=V
Key of E: E=I, A=IV, B=V
Key of G: G=I, C=IV, D=V, etc.

(B) it immediately identifies the "relative minor" for any key (90-deg clockwise), for example:

Key of C: C=I, Am=VI
Key of E: E=I, C#m=VI
Key of G: G=I, Em=VI, etc.

(C) it immediately identifies the "tritone" chords 180-deg apart, for example:

C and F
F and B
G and C#, etc.

(D) identifies the number of SHARPS(#) and/or FLATS(b) associated with each "Key."

...it can also "easily" show DIMINISHED and AUGMENTED relationships, among a host of other "goodies."

where does Am come into it as in  (I TO VIm) like if c is root 90 degrees to C is f#m or Cm not sure what the inner circle is for or how to use it

and the numbers in between the two circles when are thes used

where is VIm

why do you have the inner circle the circle of fifths as they are on the outter one next to the root note

we will get past this thankyou

beth wrote:

where does Am come into it as in  (I TO VIm) like if c is root 90 degrees to C is f#m or Cm not sure what the inner circle is for or how to use it

...there are two different "Circle of Fifths" charts: the one with white-background is showing some "extra" information (e.g.: the "inner"-circle is showing the MINOR-"Circle of Fifths" where all chords are minor)...

beth wrote:

and the numbers in between the two circles when are thes used

...the numbers between the "outer" MAJOR circle and the "inner" MINOR circle are the number of sharps (#) or flats (b) used (in sheet music) to identify the KEY of the song...these #/b notes will become better understood later when we progress from the Key of C (which has NO sharp or flat notes) to its relative Keys F and G, for example: C = no sharp or flats; G = one sharp (1#); while F = one flat (1b).
 

beth wrote:

where is VIm?

...for this, we should be looking at the "basic" (no extra information) gray-background Circle of Fifths chart...not only can we better see the right-angle 90-degree (like clock) relationship between C-chord (I = root) at the top (12 o'clock) and its "relative minor" the Am chord (VIm = 6m)...specifically, notice the small letters just inside the circle adjacent the F C G D A E and B notes...C is noted as 1st or root and A is noted as 6th (arabic numeral for Roman numeral IV). Does this help? (sorry about confusing you with the two different charts)

beth wrote:

why do you have the inner circle the circle of fifths as they are on the outer one next to the root note

...not sure I understand what you're asking here; but, the 1b and 1# numbers are different from the 1st, 2nd, etc., numbers, specifically:

...the "outer" numbers refer to the "Key Signature" (the number of sharps or flats in that key, ie: none = C, 1# =G, 1b = F. etc.)

...the "inner" numbers refer to the DEGREEs of the Key (the root (I), third (III), 5th (V), etc.)

NOTE of caution: you will see many, MANY different variations of the Circle of Fifths chart, because it (can) convey graphically music theory relationships...so, many people "add/embellish" it with many different types of information (maybe TOO much information?) -- I'm presenting only the "basics."

SUMMARY: the MAIN point to remember is that 4ths move to the LEFT (counterclockwise) and 5ths move RIGHT (clockwise), and...

...moving from any point on the circle "back" toward C is called "cycling" or "back cyclcing"

...if you already know the chords, try playing the sequence: E-to-A-to-D-to-G-to-C...each chord change is a "back cycle by 5ths"--likewise, if you played the sequence: Eb-to-Bb-to-F-to-C...each chord change is a "back cycle by 4ths"...in both cases, the "back" refers to "returning" to the ROOT chord or note.

...like I wrote: questions are expected.

ok i think i got the numbers it tells you how many # or b there are in the key of the root note

...there are two different "Circle of Fifths" charts: the one with white-background is showing some "extra" information (e.g.: the "inner"-circle is showing the MINOR-"Circle of Fifths" where all chords are minor)... 


now why the 2 circles they look the same to me ?


...for this, we should be looking at the "basic" (no extra information) gray-background Circle of Fifths chart...not only can we better see the right-angle 90-degree (like clock) relationship between C-chord (I = root) at the top (12 o'clock) and its "relative minor" the Am chord (VIm = 6m)...specifically, notice the small letters just inside the circle adjacent the F C G D A E and B notes...C is noted as 1st or root and A is noted as 6th (arabic numeral for Roman numeral IV). Does this help? (sorry about confusing you with the two different charts)


but 90 degrees to c  does not show Am it shows A and in the circle of minors it shows F#m



SO THOSE NUMBERS CHANGE DEPENDING ON WHAT ROOT NOTE YOUR USING THE 1st 2nd 3 rd ect ect


what i mean is why do you call the inner circle the circle of 5ths  when the 5th note of the root note is on the outside circle like G is to C

beth wrote:

now why the 2 circles they look the same to me ?

...which chart are you refering to, the white or gray chart? Or, are you referring to the two circle lines in the white chart?

beth wrote:

but 90 degrees to c  does not show Am it shows A and in the circle of minors it shows F#m

...it's showing the" I-to-VI relationship" of the single DEGREE notes; later, when we get more into chords, we'll cover "how" the C6 chord and the Am chord contain exactly the same notes, except in different order...(that's their relationship).

NOTE: DEGREES (R, 3, 5, etc.) refer to single NOTES, while CHORDS (C, Am, Fm, etc.) refer to combinations of 3 or more notes...the Circle of Fifths chart(s) work with BOTH.

beth wrote:

SO THOSE NUMBERS CHANGE DEPENDING ON WHAT ROOT NOTE YOUR USING THE 1st 2nd 3 rd ect ect

...yes. Since we're ONLY talking about Key of C here, everything is referenced to it...however, soon, we'll be moving into both the F (1b) and G (1#) keys...and, you'll see "where" the sharps (#) and flats (b) come from.

beth wrote:

what i mean is why do you call the inner circle the circle of 5ths  when the 5th note of the root note is on the outside circle like G is to C

...because music has two distinct sonic qualities: MAJOR and MINOR, and that specific chart was draw to show BOTH. Why C on top and Am below? Because they BOTH have a KEY SIGNATURE of NO sharps and NO flats, so they're BOTH positioned at the top (12:00 o'clock) positon of the chart.

...our next subject will be KEY SIGNATURES and how they're formed and where they come from.

which chart are you refering to, the white or gray chart? Or, are you referring to the two circle lines in the white chart?
thats what i mean the white and the gray the 2 of them

...it's showing the" I-to-VI relationship" of the single DEGREE notes;
is it 90 degrees to root note shows the 6th note

F) the DEGREES of a key occupy an offset, 90-degree portion of the circle; for example, below are the DEGREE-notes of the Key of C, see how they are "offset" one from the Root note.
D) the "Relative Minor" chord to the Key ROOT chord is "90-degrees clockwise" from the Key ROOT (I to VIm); for example:

at little lost with this still can you give me some moe example with different root  notes like C root (I), thus Am (vi) is the "relative minor"

Other than that im glad to say im getting my head around it