Cycle of 4ths and 5ths Made Easy

[@wyndhleodumegwu253]

Great tutorial, champ! "Lohvissimo" a la flute cycling; excellent travels. All the best! Thanks.

[@Sirvalorsax]

Thanks

[@Samuel-ge7im]

Great video Adrien, very simply explained. Thanks for the help.

[@Sirvalorsax]

Glad it was helpful!

[@PhinAI]

Thank you, Sir! With the deepest appreciation for your PHENOMENAL explanation, I respectfully salute you. Now, I have some memorization and practice to pursue. This is a great place to begin!

[@Sirvalorsax]

Thanks for watching

[@kevincoltri2310]

Sir, I found your explanation of modes using the circle of 4ths very interesting and definitely related when you said it's not usually taught this way. I never thought of it or was taught that way either even though inherently I must have been aware of it... Thanks for the videos and insight!

[@Sirvalorsax]

Thanks for watching

[@tmxxx70]

Ciao Silva!!!!! Bravissimooooooooo grazieeeèeeee

[@joerumler48]

YES!

[@sauloferreira3182]

Muito boa explicação. O senhor é 10.

[@shipsahoy1793]

Ok Sir, I see you’ve added soprano flute to the long list of instruments you’re playing. In the woodwind family, I’ve played bass flute, alto flute, soprano flute, a baroque flute, an Irish flute, and alto and tenor saxes. Woah! Now these days I try to stick with tenor or alto sax and soprano flute, but I’m also a big fan of stringed instruments 😩 .. Regrets? Having never learned the trumpet or trombone 😮. Ps> Thanks for sharing.. looking forward to hearing about your mpc adventure😉.. C-Ya!

[@curtisvalle5141]

Good Sir, very nice. Thank you. I've obviously lived a sheltered life. I suck at bass clef on keys. On bari?... uh... no.

[@ggauche3465]

I learned my basic theory from the classical world, where root movement by 5th is fundamental, so C to F is a descending 5th, F to Bb is a descending 5th. This meshes because the progression C to F is a V to I, not a I to IV, likewise F to Bb is a V to I. A secondary dominant is a cascading V of V to I. A ii V I is a root movement of descending 5ths. Does it matter? When I came to jazz I had to get used to this topsy turvy world of ascending 4ths. You get used to it but you have to kind of suspend disbelief to do so.

[@kevincoltri2310]

I can see how it can be confusing, but it's basically the same thing using different terminology. If your brain thinks of 4ths as decending 5ths then personally I would keep thinking of it that way. The theory and concept is the same.

[@ggauche3465]

@@kevincoltri2310 Yes, I think of it like one of those figure-ground drawings - is it a rabbit or a duck? There's no "right" answer, it's both. I prefer the descending fifths perspective because it better fits what else I know of music theory.

[@KrisVComm]

When you say G min and then you show two flats that means Aeolian? Do most Jazz guys think of Dorian (Bb only) when a G minor is called out?

[@KrisVComm]

@@MyRackley Thank you

[@bismarcksax]

Greetings sir! Do you give zoom lessons?

[@Sirvalorsax]

Not yet!

[@sauloferreira3182]

Tem condições de disponibilizar as partituras?

[@stephenmellor9264]

If i find that this is a mind melt does it mean i should just give up right NOW? please somebody reply. Thank you.

[@Snailmale7]

Never ever give up .... your mild will solidify when it cools

[@PhinAI]

Circle of Fifths (and Fourths, apparently) is a great place to start. I think, this is the place to begin memorizing. Remember the order of the notes he presented, starting with C and progressing in order of sharps or flats. (If someone who understands this better with better approach, please share! I'm beginning this journey of understanding music theory, myself. I'm a drummer (with minimal background in guitar) trying to learn sax -- worth it!!!))

[@jg0r]

@@PhinAI IMO these are pretty advanced concepts if you have almost no theory experience or understanding. A better starting place is probably: 1. Memorizing the understanding the musical alphabet, 7 naturals and 5 accidentals for a total of 12 notes. 2. Understanding half-steps and whole-steps (how to measure distance in music). 3. How to build the major scale from any starting note by using whole-steps and half-steps, WWHWWWH. 4. How to derive major, minor, diminished and augmented triads(chords) from the major scale using scale degrees. i.e 1 3 5 = major. That's a strong foundation for further learning! Work on it a little bit every single day and don't be afraid to be wrong or ask questions. Music is for everybody.

[@zvonimirtosic6171]

'The Circle of 4ths&5ths' or, 'the saxophone hamster wheel'. This is one more reason why the saxophone world desperately needs a *C Melody* saxophone produced readily with all other saxophone models. If the composers were keener to introducing the saxophone in the concert pieces, we'd have it. But because the saxophone was taken by the jazz and pop groups, who couldn't care less what they were playing on, sax or plumbing pipes, now play your 7 sharps on Eb instruments for even a simple tune, boys ...

[@Sirvalorsax]

In reality, if there was an actual demand for a C Melody, manufactures would make them. Believe me when I tell you this, no one wants one in either jazz or classical.

[@zvonimirtosic6171]

​@@Sirvalorsax I understand what you wish to say, but here is the gist: drop the standard C tuning on a guitar, piano or violin, and those popular instruments will lose 90% of their audience .. overnight. The problem with sax, is the problems of the uppity attitude of the teachers and pro performers. They managed to learn to play two difficult transposing instruments, and now they LOVE them being Bb and Eb. It allows them to look from on high on students, who are struggling hard for no good reason. To music tutors and pro performers, that wall of difficulty is a sure source of income. But poor students cool down quickly and loose enthusiasm. Bb and Eb instruments are useless for playing by ear which people naturally would love to do (as they like strumming the guitar). If one is not really, really well trained and plays every day to remember pitch and key-work differences, it's impossible to do it on Eb and Bb instruments. There is far more student's Bb and Eb instruments on sales in second-hand shops than professional horns .. boy, I wonder why is that so!?

[@Sirvalorsax]

@@zvonimirtosic6171 If this was true I would think that more people would play flute which is in "C". All C saxophones are still transposing instruments as is guitar because they transpose to an octave, unlike the flute. No matter what instrument you choose, you will have to learn all the keys regardless of what key the instrument is in. Guitar is very popular not because its in "C" but because of the capo that can be used to make everything feel like it's in "C". It is also very affordable. Electric keyboards have a transpose function that does the same thing as a capo. Rhythm instruments are easy to transpose from one key to another because of their design, not because of what key they are in. One should not expect this for any wind instrument regardless of what key it's in. A wind player will just have to learn this skill over time especially when a singer just doesn't have the range in a key that you may already be familiar with. It just doesn't matter what key your sax is in when playing by ear or when transposing is involved.

[@zvonimirtosic6171]

​@@Sirvalorsax This is good topic. The flute has no sufficient volume even to push enough sound past 3ft from the player without amplification. Even a simple soprano recorder produces more volume. The guitar, keyboard, saxophone, etc, on the other hand, produce enough of sound volume to fill up the room, and more. Regarding the concert key, vocalists tune themselves and train with the piano (C concert); the pianist and the vocals easily match each other and correct each other. But put a Bb instrument there - vocals sings "Do" and the saxophonist fingers "Re" or worse ('La' for Eb sax). That kills the casual use of saxophone by non-professionals, and destroys playing by ear. In the 1920s, in the USA, C-melody saxophone became very popular, because it was easy to play with the vocals and the piano, in smaller venues. No transposition, playing by ear is easy. (shifting octaves only doubles / halves the frequencies, it's the simplest harmonics, it does not create shifting key dissonance, so it's natural and easy) All instruments that loose its members in C-tuning, like the clarinet, saxophone, etc. means the repertoire for them is fading away, or, they are just there to push more volume in the same transposing key. On the other hand, instruments that gain members in C tuning (like the trumpet) are growing in quality repertoire and in use. There is no sufficient quality repertoire for the sax in the neo-classical, therefore it serves just to push more air and more volume in the same key as the Bb and Eb woodwinds in the marching bands. The mouthpieces for classical and marching bands music are under-developed and basic; they stifle the tone and cut off expressiveness of the instrument, that it fits better with clarinets. etc. That's really bad. An extra C-tuned instrument, which was readily available in the 1920-30s, is needed - for the sake of the saxophone itself.

[@zvonimirtosic6171]

And there is another issue - no more visionary music, nor excitement, nor genuine support. When Johann Strauss needed new types of clarinets, C, high G, etc, the instrument makers in Austria jumped and made them. When Vienesse composers asked for all new type of action, piano makers made them. But in today's mastodontal, inert, commercialised, cutthroat instrument manufacture, where everyone makes same things, who is going to do that? Big name manufacturers are run by pencil pushers and bean counters, and won't come their arses if there is no substantial gain.