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Hi everyone, I hope this is the right place to post this question, I am not a teacher but I thought this would be a good place to ask, here is a link to a chord chart http://chordmaps.com/mapC.htm , I can't understand any of it. I also have a hard time understanding the circle of fifths, can someone explain this too. Thanks for any help and aloha.

Chris

The chart is just showing some sequences of chords that work well in the key of C. I don't think there's any more to it than that. So, for example, the progression C-F-C and C-G-C will sound basically harmonious, as will the progression C-G-Am-F-G-C. The blue boxes show sequences that are frequently encountered in the key of C, while the green ones show progressions that are less common, and therefore have the potential to be dramatic, if carefully used.

The circle of fifths is just what you get if you play a note a fifth above another, and then a fifth above that, and so on, until you end up where you started (same note, some octaves up, of course).

here is a link (from Piano World) that is interesting and helpful. it's really fun to play with.

piano chords

that chart looks like astronomy to me altho it's probably helpful.

I don't find that chart helpful at all, and unless you know sus and 9th chords, etc., it won't be helpful. I would first learn to play all the major chords in every key (triads built upon the 1st, 4th and 5th scale degrees in a major key signature).

Go around the circle of 5ths. You start in the key of C, then go up a 5th to G and add the first sharp (F), and so on. To do flats, you go down a 5th from C to F (which has B-flat as the first flat).

Here is a chart to help you: http://www.i-love-guitar.com/images/circle_of_5ths.gif

Hi everyone, thanks for the replys, it has helped me understand it more. Mahalo and aloha.

Chris

That map is in the context of a site called "Music Theory for Songwriters" which also has more extensive information URL of site The one cited here is called "the big map in C".

Addendum: This site is well organized and has a wealth of information. I'm wondering whether it could be a good resource. That is one reason why I decided to post. This gives a better overview:
overview

Hi Keystring you are so very right about the site being a good site and a wealth of information.
Now it is going to take me some time to learn all of it. Mahalo and aloha.

Chris

Hi Joyjane - I happened on it a year ago when someone mentioned it and simply recognized the diagram in the opening post. It seems to teach basic theory but I haven't looked into it more deeply.
To unzip a file you need something like Winzip - follow link which will do it for you.
KS

Thank you. KS.

Although the chart itself is really confusing, the concepts are what is discussed in this other thread.

Nursery Rhyme Reharmonization Thread

Basically the first Blue column shows a I/IV/V progression that is very common in pop music, and it's variations, and the second blue column is a ii/V/I progression. All the little yellow thingies just show how you can modulate to a Blue chord and you will find they are just dominants treating the blue chord as a tonic. V-I.

If you don't understand what I said above, then read up on the thread as I go through some attempts at a simple explanation.

Jazzwee, I think I got the link through you in the first place.

Nope, not that one Keystring. I would have looked for something more "complicated" Hehe...

Most think of progressions in the Key of C for simplicity. In Jazz I tend to think of all 12 keys. I'm lucky if most tunes I play stay within 2-3 keys.

Ok, somebody with "jazz" in his/her name linked me to two sites so that I could understand what looked like algebra to me. G7/B being "1st inversion of V7" or but seen by me as "G times 7 divided by B = what on earth?" when I first saw it.

Slash chords are confusing because sometimes they mean polytonality (two actual chords). But in it's simplified application, at least in jazz thinking, it make bass movement apparent so slash chords often give context to a progression. So we just think G7 on top and then B bass note (and don't duplicate notes). It may or may not be an inversion.

Honestly inversions isn't even the focus in jazz chords since nothing we ever play is in a fixed inversion, especially since we often play with no root anyway.

I think I should mosey over to the jazz thread to continue this. Bottom line: it's both a different language and a different way of thinking or doing music. Thanks for the info.