When did you learn about the Circle of Fifths? I learned about it in a high school music theory class. You know – it’s the sequence of notes laid out in a circle. When you go clockwise through the circle, each note is separated an interval of a fifth.

And almost right away I realized that when go counter-clockwise around the circle, each note is separated by an interval of a fourth.

But in music classes and lessons, we spent all our time focused on the Circle of Fifths, going clockwise. We played arpeggios – 1-3-5 – and so the interval of a fifth became a very comfortable one.  And yes, the interval of a fourth, as in sol-do, was oft used. Still, we were taught to use the Circle of Fifths even though we learned that you could go the other direction just as easily. 

Here comes the Ah-Ha moment

The II-V-I chord progression is the most common progression in jazz music. In the key of C that would look like d7-G7-C. In the key of Bb that would look like c7-F7-Bb. And so on.

Well, guess what? When you travel counterclockwise around the circle the movement from note to note follows the roots of the II-V-I progression!

Go ahead and check it out with the Circle of Fifths below.

Major props to Mark Levine and his book, The Jazz Theory Book. I was reading chapter two, The Major Scale and the II-V-I Progression. On page 23, there is this innocuous-looking footnote,

“Classical musicians are often taught the cycle clockwise. Jazz musicians prefer using the cycle counter-clockwise because the movement from note to note (C, F, Bb, and so on), follows the roots of the II-V-I progression (as in C-7, F7, Bb Major).”

Holy cow! It is never too late to learn. For me, this is one of those lightbulbs-going-off-above-my-head moments. Since I know the Circle of Fifths very well (in both directions), this is going to really help me see II-V-I progressions in jazz charts.

Did this help you? Share in the comments how you are going to use this informative tidbit. Thanks!