Writing in the cirlce of fifths

[Leftybass12]

I've heard some songs that have been written in a circle of fifths "fashion" but I have always wondered....how can they manage to pull it off and make it sound good?? Along with understanding modal stuff, I've been trying to get my head around this concept. I've tried to experiment with this, but I think I'm being too critical about it, also I'm trying to battle my constant thoughts of "Who cares, as long as it sounds good."

[iamthebassplayr]

Originally Posted by Leftybass12

I've heard some songs that have been written in a circle of fifths "fashion" but I have always wondered....how can they manage to pull it off and make it sound good?? Along with understanding modal stuff, I've been trying to get my head around this concept. I've tried to experiment with this, but I think I'm being too critical about it, also I'm trying to battle my constant thoughts of "Who cares, as long as it sounds good."

A descending circle of fifth's (or ascending fourths) progression is considered to be the most harmonically strong progression possible. It always leads to the V chord and then back to I.

I - IV - vii dim - iii - vi - ii - V - I


I don't know enough about jazz theory, but i'm pretty sure that iii - vi - ii - V - I (the last half of the above progression) is one of if not the most common progression in Jazz. It is usually refereed to as a ii - V - I.


Typically, writing the ascending fifths leads AWAY from a cadence, but still feels like it is a forward moving progression. It is usually ended with either descending fifths or ascending fourths to lead back to a cadence and then to tonic.



Or at least I think

[MalcolmAmos]

That viidim, iii, vi, ii, V, I is the classic gospel turn-a-round that has been used forever. Great way to get back to the tonic. Look at the back of that turn-a-round --- ii-V-I.

Using the circle as a format leads to little ii-V-I movements which are great if you want them.

Check out this paper on backcycling.
http://www.ibreathemusic.com/forums/...hp/t-8383.html

[JTE]

Get a fake book and look for fifths in the progressions... it doesn't have to go all the way through the cycle, but a ii V I is cycling through. In the key of Eb, the ii V I is Fmin to Bb7 to Eb. F to Bb is a fourth (backwards through the cycle), and Bb to Eb is the same.

John

[mambo4]

As others have hinted, the trick is moving your roots around the circle of fifths while making sure the chords fall within the same key. so instead of B E A D G C F all a played as simple major chords, you constrain the chord flavors to fit whatever key you are in, as well as sharping/ flatting the appropriate notes.

composers very rarely go through all 7 chords of a key in a single go, and often will modulate keys as they circle.