The reverse is true as we go down from C: we get scales-and key signatures-with more and more flats. Illustration: As we go up in 5ths from C, we get scales with more and more sharps. When we do this, we discover that, as we go up in 5ths from C, we get scales with more and more sharps.
Name the black keys using only flat names this time. Then, write down the descending notes from the highest C. Take a look at the full keyboard of 5ths. It is a term you will hear often at Berklee and in the professional music world. Two notes spelled differently are called enharmonics. For example, C♯ is the same as D♭, and A♯ is the same is B♭. You may already know that notes can have more than one name. First, a quick review and an exercise to point us in the right direction. Let’s see if we can express this in a simple way. In the process, we have touched all 12 possible notes: C, C♯, D, D♯, E, F, F♯, G, G♯, A, A♯, and B. Start at the lowest C (the farthest on to the left) and go up in fifths. So how do we first acquaint ourselves with the circle of fifths? Before we even look at that circle, take a look at your keyboard. Seeing the notes laid out in a circle will help you unlock an understanding of how major and natural minor scales are organized, and also how they are related to each other. The circle of fifths is arguably the most helpful way of visually organizing Western music theory’s 12 chromatic pitches for learning. The following information on the circle of fifths is excerpted from the Berklee Online courses Music Application and Theory, authored by Eunmi Shim and Music Foundations, authored by Joe Mulholland, Yumiko Matsuoka, and Gaye Tolan Hatfield.
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