I’m thinking that in order to continue to progress in music I’ve got to add music theory and more specifically, the Circle of Fifths to my toolbox. My 3 goals are to 1) understand how music works, 2) to play better bass guitar and 3) to write better songs using BiaB.

What I think I know about this diagram is that if we move clockwise, one step on the outer yellow circle we find the “upward 5th” (of the C major scale?) of where we started. So G is the upward 5th of C and D is the upward 5th of G. When we get to Cb/B this is not a slash chord but indicating that Cb and B are equivalent. To find the upward 5th of a note on my bass, I move up 1 string and then up 2 frets. C-D-E-F-G or 1st-2nd-3rd-4th-5th (upward).

If we move counterclockwise we get the “downward 5th” of where we started. So F is the downward 5th of C and Bb is the downward 5th of F. On my bass I can get these downward 5ths by moving up 1 string and staying on the same fret or by moving down 1 string and then move down 2 frets. C-B-A-G-F or 1st-2nd-3rd-4th-5th (downward).

I know there is a ton of music theory material on the web but I find that much of it may start at a beginners level but then accelerates beyond my skill level making it difficult to see the “entire forest”. Also, I find these sites don’t align very well with my 3 goals above. So here are a few questions.

1. If this diagram is for the C major scale, are there different diagrams for all the other scales?
2. Do you find the Circle of Fifths useful for what you do musically? If so, how?
3. Can this tool be used in constructing chord progressions when writing songs?
4. Can you recommend a beginner’s music theory book that you actually have on your bookshelf or plan to buy? Being able to discuss something on a specific page would be useful. Who knows, this may grow into a “PG Music Retirement Center Book Club”. smile
5. Anybody else struggling with music theory?

Thanks for any insights.

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For me there’s no better place in the band than to have one leg in the harmony world and the other in the percussive. Thank you Paul Tutmarc and Leo Fender.