cycle of fifths / natural minor tonality

Is there a way to logically organize the 12 key natural minor centers of the minor tonality? Overall, the theory of this group is pretty straightforward, one intervalic formula projected from the 12 reference points of the chromatic scale. These 12 points become the "fundamental", "root" or "tonic" pitch of 12 tonal centers or keys with which to create our music. The cycle of fifths is a potentially important arrangement whereby the 12 roots of the keys are sequenced by the interval of a perfect fifth. We place the key of A natural minor in the 12 o'clock position, as it contains no sharps ( # ) or flats ( b ) in creating the proper interval structure for the natural minor scale. So, start simple? Yep. The fifth degree of A natural minor is E, which is found in the 1 o'clock position has one sharp. B, the fifth of E is found at 2'oclock etc. and has two sharps. We simply move clockwise by fifth to include all of the 12 natural minor keys. Lets examine the diagrams of the cycle of fifths for the 12 major natural minor keys with their key signatures. Example 1.

Are there any more minor tonal centers than the 12 included on the chart above? Nope. So, again we see a looping of the pitches creating a perfect closure to our 12 pitches, in this instance our loop is created by the interval of a perfect fifth. Can you play through the pitches of the cycle on your chosen instrument?

What happens if we were to move counterclockwise on the above keyclock? What interval comes into play then? Here is a chart for the pitches moving by perfect 4th. Example 1a.

Cool? Simply root motion by perfect 4th. So, now if we backpedal, are we moving by perfect 5th? Exactly. Are the perfect 4th and perfect 5th inversions of each other? Yep. Cool with this?

Lets compare this natural minor keys with the cycle of fifths for the 12 major key centers. Example 1b.

So, why is this so important? Simply because this "pairing of tonal environments", in whatever combinations, is such a large part of the key schemes found with the American musical literature of the last 100 years or so. In the world of jazz music, using multiple key centers in one musical composition is very common. Players term this key motion "to modulate" and knowing the cycles of 5th's and 4th's helps improvising players organize their shedding. Of course, the reverse is also true, using one tonal center as say in the 12 bar blues form, but the vast majority of jazz tunes written in either of the structural forms of 32 bar A / B or A / A / B / A format generally go "somewhere" and "do something" keywise. Composers choose combinations of tonal centers to best create the perfect musical environment for their emotional statement. This "pairing" of keys is nothing new, as we see with the melody "Greensleeves" which dates as early as the 15th century. Example 2.

So, one sharp in the signature puts us in E minor / G major yes? Hear the shift from minor to major then back to minor? If not click again, the tonality changes in bar 9 from the minor to the major tonality. This differentiation between the minor and major tonality is a solid first step for developing one's aural ability. Cool wit this?

Here is chart comparing the pitches of the 12 relative major and minor keys listed by the cycle of fifths. Example 3.

Again, the idea that this is a closed system of pitches, no more no less. Really? What about the blue notes in between? Thought we use the blue notes to get in between the pitches? We do. Now your talkin... the blue notes are one sure way to expand the equal tempered melodic resource n'est pas? How about chords? Well no, we need things "in tune and tempered" to create the harmony to support our melodies, some of whose pitches are not always in tune. Is that part of the American blues sound? Exactly.

Here is a list of standard jazz compositions that are either entirely written or contain large structural sections in the minor tonal environment. Included for each entry is a brief description of the keys / tonal properties of the composition. All of these compositions are fun to play, important historically and are callable at most jazz sessions. Example 4.

Would you like suggestions for song titles of other American styles? Click here to go there.

Where to next?

review new ideas

I praise loudly, I blame softly. Catherine II of Russia