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Circle of Fifths

Practice harmony in every key. Guide tones, shell voicings, ii-V-I movement, and fretboard drills — all connected through the circle.

Quick-Start Workout~13 min

Five progressive steps. Click any step to load it on the fretboard below.

Major keys, relative minors, and key signatures

C Major

Relative minorAm

Key signatureNo sharps or flats

Fifth up (→)G

Fourth up (←)F

Diatonic Triads

I Cii Dmiii EmIV FV Gvi Amvii° B°

Fretboard

Connected to the circle above. Change the view mode or select a key to update what appears here.

C Major Scale

RootCharacteristic toneScale tone

ii-V-I Around the Circle

Step through ii-V-I in every key, following the circle clockwise. See the chords, guide tones, and voice-leading resolutions for each key.

ii-V-I

Dm7

Cmaj7

Guide-Tone Voice Leading

ii → V: 7th of Dm7 (C) → 3rd of G7 (B)

F stays → becomes 7th of G7

V → I: 7th of G7 (F) → 3rd of Cmaj7 (E)

B stays → becomes 7th of Cmaj7

Shell Voicings (root on 5th string)

Dm7frets 5-3-5 (A-D-G)

G7frets 3-2-3 (E-A-D)

Cmaj7frets 3-2-4 (A-D-G)

Shell Voicing Workout

Shell voicings use only root, 3rd, and 7th. No 5th. These three notes are enough to define any chord quality and create smooth voice leading around the circle.

Why Shell Voicings?

Clarity

Root identifies the chord. 3rd and 7th define its quality (major, minor, dominant). Nothing extra.

Voice leading

With only three notes, you can hear exactly how each voice moves to the next chord. The 3rd-7th swap becomes audible.

Economy

Three fingers, three strings. You can play through all 12 keys without complex shapes. This builds speed and fluency.

Foundation

Shell voicings are the skeleton of jazz comping. Add extensions later. Start with the bones.

ii-V-I in C: Shell Shapes

Root on 5th string set. Three notes per chord, minimal finger movement.

Dm7

A: DD: FG: C

frets 5-3-5

E: GA: BD: F

frets 3-2-3

Cmaj7

A: CD: EG: B

frets 3-2-4

Notice: the 3rd of Dm7 (F) stays as the 7th of G7. The 7th of G7 (F) resolves to E (3rd of Cmaj7). Minimal motion, maximum clarity.

Guide-Tone Voice Leading

The 3rd and 7th define chord quality. When chords move by fifth, these guide tones resolve by half step, creating the smoothest voice leading.

ii → V: Dm7 → G7

Dm7

3rdF

7thC

½ step ↓

3rdB

7thF

7th→3rd half step3rd resolves

The 7th of Dm7 (C) resolves by half step down to the 3rd of G7 (B). The 3rd of Dm7 (F) becomes the 7th of G7. This smooth voice leading is why ii-V motion feels so natural.

V → I: G7 → Cmaj7

3rdB

7thF

½ step ↓

Cmaj7

3rdE

7thB

7th→3rd half step3rd resolves

The 7th of G7 (F) resolves by half step down to the 3rd of Cmaj7 (E). The 3rd of G7 (B) becomes the 7th of Cmaj7. This is the strongest resolution in tonal music.

Full ii-V-I: Dm7 → Cmaj7

Dm7

3rdF

7thC

½ step ↓

Cmaj7

3rdE

7thB

7th→3rd half step3rd resolves

Through the full ii-V-I, guide tones move in contrary motion by half steps. The 3rds and 7ths trace a smooth descending line: C-B, F-F-E. This is the engine of jazz harmony.

V → I (key of D): A7 → Dmaj7

3rdC♯

7thG

½ step ↓

Dmaj7

3rdF♯

7thC♯

7th→3rd half step3rd resolves

The 7th of A7 (G) resolves by half step down to the 3rd of Dmaj7 (F♯). The 3rd of A7 (C♯) becomes the 7th of Dmaj7. Same voice-leading pattern, different key.

The Key Insight

When chords move by fifth, the 7th resolves down by half step to the 3rd of the next chord. The 3rd becomes the 7th of the next chord (common tone). This pattern is universal across every key and every ii-V-I. Learning to hear and play these two-note resolutions is the fastest path to fluent jazz voice leading.

Explore Any Chord Pair

From

→

3rdB

7thF

stays

resolves

Cmaj7

3rdE

7thB

7th of G7 (F) → 3rd of Cmaj7 (E)

3rd of G7 (B) stays as 7th of Cmaj7 (B)

Classic guide-tone voice leading: the 3rd and 7th swap roles with minimal motion.

Try V→I pairs (e.g. G7→Cmaj7, D7→Gmaj7) or ii→V pairs (e.g. Dm7→G7, Am7→D7) to see the half-step resolution pattern.

Harmonic Movement

Movement by fifth is the strongest harmonic motion in music. The ii-V-I cadence chains this motion for maximum pull.

ii-V-I in C

Dm7G7Cmaj7

ii→V→I

The most common jazz cadence. Dm7 sets up tension, G7 creates dominant pull, Cmaj7 resolves.

ii-V-I in G

Am7D7Gmaj7

ii→V→I

Moving one step counterclockwise on the circle. The dominant D7 pulls strongly to G.

ii-V-I in F

Gm7C7Fmaj7

ii→V→I

Moving one step clockwise on the circle from C. Notice how C7 resolves to F.

ii-V-I in D

Em7A7Dmaj7

ii→V→I

Guitar-friendly key. E minor shape to A dominant to D major.

ii-V-I in B♭

Cm7F7B♭maj7

ii→V→I

Common jazz key. Flat keys are standard territory for horn-driven jazz.

ii-V-I in E♭

Fm7B♭7E♭maj7

ii→V→I

Another essential jazz key. Practicing this builds comfort in flat keys.

Descending Fifths Chain (from C)

Cmaj7Fmaj7Bm7♭5Em7Am7Dm7G7Cmaj7

IIVvii°iiiviiiVI

A full diatonic circle progression. Each chord's root is a fifth below the previous. This is the complete harmonic gravity of a key laid out as a sequence.

Practice Exercises

Each exercise can be loaded onto the fretboard above. Click “Load on Fretboard” to set the view mode and scroll to the diagram.

Root Movement on One Stringbeginner

5 minroots

Learn the circle pattern as a physical shape on the fretboard

Power Chords Around the Circlebeginner

5 minroots

Build the circle into muscle memory using familiar shapes

Triads Around the Circleintermediate

10 mintriads

Practice major triads in all 12 keys using circle order

7th Chords Around the Circleintermediate

10 minsevenths

Navigate all 12 keys with 7th chord voicings

Shell Voicings Around the Circleintermediate

10 minshell voicings

Practice essential jazz voicings (root, 3rd, 7th) through all keys

Guide-Tone Resolution Drillintermediate

10 minguide tones

Hear and play how 3rds and 7ths resolve between chords moving by fifth

ii-V-I in All 12 Keysadvanced

15 minii V I

Master the most important jazz progression in every key using circle order

Arpeggios Around the Circleintermediate

10 minarpeggios

Play chord tones through all keys following circle movement

Chromatic Approach into Guide Tonesadvanced

15 minguide tones

Use chromatic approach notes to target the 3rd and 7th of each chord around the circle

Descending Fifths Diatonic Cycleadvanced

10 minsevenths

Play through the full diatonic circle within a single key

The circle of fifths arranges all 12 musical keys by their relationship to each other. Moving clockwise, each key is a perfect fifth higher and adds one sharp. Moving counterclockwise, each key is a perfect fourth higher and adds one flat. Adjacent keys share all but one note, making them closely related. This is the map of harmonic gravity — it explains why dominant chords resolve the way they do, why ii-V-I is the strongest cadence in jazz, and how to transpose between any keys.

What You Can Do With It

Practice all 12 keys systematically

Instead of random key practice, follow the circle. After C, go to G, then D. You cover all keys with maximum relationship awareness.

Practice your Cmaj7 arpeggio, then immediately do Gmaj7 in the nearest position.

Build ii-V-I in every key

The circle gives you the V for any I. One step counterclockwise is the ii. You can derive the most important jazz cadence in any key instantly.

Key of A: one step left is D (ii = Bm7), the V is E7, the I is Amaj7.

Understand jazz standard movement

Most jazz standards use circle-of-fifths motion. Autumn Leaves, All the Things You Are, and hundreds of standards follow circle patterns.

Autumn Leaves (in G minor): Cm7 → F7 → B♭maj7 → E♭maj7 — all fifths motion.

Connect dominant resolutions

Any dominant 7th chord wants to resolve a fifth down. G7 → C, D7 → G, A7 → D. The circle maps every resolution.

See a G7 chord? The circle tells you it wants to go to C.

Transpose songs easily

Moving a song up a fifth (or down a fourth) means shifting one position clockwise on the circle. All chords shift the same way.

Song in C (C-Am-F-G) → up a fifth to G (G-Em-C-D).

Practice shell voicings around the circle

Shell voicings (root-3rd-7th) through the circle builds your jazz comping vocabulary across all keys with smooth voice leading.

Cmaj7 shell → Gmaj7 shell → Dmaj7 shell. Notice how fingers barely move.

Practice guide tones around the circle

Playing just the 3rd and 7th of each chord through the circle trains your ear to hear voice-leading resolutions.

Cmaj7 (E, B) → G7 (B, F) → Cmaj7 (E, B): the 3rds and 7ths swap roles.

Write progressions with harmonic gravity

Movement by fifths creates the strongest harmonic pull. Use the circle to plan progressions that feel purposeful.

Em7 → Am7 → Dm7 → G7 → Cmaj7: every chord creates pull toward the next.

Understand modulation and related keys

Neighboring keys on the circle share the most notes. Moving one step is the smoothest modulation. Opposite keys are most distant.

C major and G major differ by one note (F vs F♯). C and F♯ differ by six notes.

Organize your fretboard practice

Instead of practicing scales randomly, move through them in circle order. This connects your physical knowledge to harmonic relationships.

Monday: keys of C and G. Tuesday: D and A. Wednesday: E and B. Cover all 12 keys in a week.

ii-V-I Play Along

Guided ii-V-I play along with backing track.

Guide-Tone Workout

Timed drills focused on 3rds and 7ths voice leading.

Shell Voicing Circle

AI-coached shell voicing workout around the circle.

Ask the Coach

Get personalized circle-of-fifths practice plans.

Circle of Fifths

Fretboard

C Major Scale

ii-V-I Around the Circle

Guide-Tone Voice Leading

Shell Voicings (root on 5th string)

Shell Voicing Workout

Why Shell Voicings?

ii-V-I in C: Shell Shapes

Guide-Tone Voice Leading

The Key Insight

Harmonic Movement

Practice Exercises

Understanding the Circle

What You Can Do With It

ii-V-I Play Along

Guide-Tone Workout

Shell Voicing Circle

Ask the Coach