**Circle of Fifths — Interactive Chart | Cantivy**

> Interactive circle of fifths: tap a key to see its key signature, relative minor, neighboring keys and all seven chords, then hear the tonic chord and the scale.

Fonte: https://cantivy.com/en/tools/circle-of-fifths/ · idioma: en

— внутри лист резал бы собственный контент, и семантика
страницы для краулера была бы неверной. -->

[Tools](https://cantivy.com/en/tools/) / Circle of fifths

# Circle of fifths

Arrow keys rotate the circle; the up arrow selects the major ring, and the down arrow selects the minor ring.

Key

C major

Key signature

0 no sharps or flats

Relative minor

A minor

IV neighbor

F major

V neighbor

G major

Same sound, different spelling

Scale

C D E F G A B

The seven chords Click a chord to hear it.

1. IC
2. iiDm
3. iiiEm
4. IVF
5. VG
6. viAm
7. vii°B°

Play the chord Play the scale

Click a key: the outer ring shows the 12 major keys, and the inner ring shows their relative minors. The panel displays the key signature, scale, neighboring keys, and seven chords, and plays the chord and scale.

## The 15 major keys and their key signatures

*Each major key, its relative minor with the same key signature, the number of accidentals, which notes they are and the order in which they enter, and the seven chords of degrees I, ii, iii, IV, V, vi, and vii°. Calculated by the same engine as the circle above.*

| Major | Relative minor | Accidentals | Altered notes | Chords (I–vii°) |
| --- | --- | --- | --- | --- |
| C major | A minor | 0 | — | C Dm Em F G Am B° |
| G major | E minor | 1♯ | F# | G Am Bm C D Em F#° |
| D major | B minor | 2♯ | F# C# | D Em F#m G A Bm C#° |
| A major | F# minor | 3♯ | F# C# G# | A Bm C#m D E F#m G#° |
| E major | C# minor | 4♯ | F# C# G# D# | E F#m G#m A B C#m D#° |
| B major | G# minor | 5♯ | F# C# G# D# A# | B C#m D#m E F# G#m A#° |
| F# major | D# minor | 6♯ | F# C# G# D# A# E# | F# G#m A#m B C# D#m E#° |
| C# major | A# minor | 7♯ | F# C# G# D# A# E# B# | C# D#m E#m F# G# A#m B#° |
| F major | D minor | 1♭ | B♭ | F Gm Am Bb C Dm E° |
| B♭ major | G minor | 2♭ | B♭ E♭ | Bb Cm Dm Eb F Gm A° |
| E♭ major | C minor | 3♭ | B♭ E♭ A♭ | Eb Fm Gm Ab Bb Cm D° |
| A♭ major | F minor | 4♭ | B♭ E♭ A♭ D♭ | Ab Bbm Cm Db Eb Fm G° |
| D♭ major | B♭ minor | 5♭ | B♭ E♭ A♭ D♭ G♭ | Db Ebm Fm Gb Ab Bbm C° |
| G♭ major | E♭ minor | 6♭ | B♭ E♭ A♭ D♭ G♭ C♭ | Gb Abm Bbm Cb Db Ebm F° |
| C♭ major | A♭ minor | 7♭ | B♭ E♭ A♭ D♭ G♭ C♭ F♭ | Cb Dbm Ebm Fb Gb Abm Bb° |

Use the circle of fifths to see the relationship between major keys, relative minor keys, key signatures, chords, and transposition. Select a key in the widget above to see the scale, accidentals, neighboring keys, and diatonic chords. You can also hear the selected tonic chord and scale.

The outer ring shows the 12 major keys. The inner ring shows the 12 relative minor keys. At the three bottom positions, the tool displays both possible spellings: B/C♭, F#/G♭, and D♭/C#. These spellings represent the same pitch on an equal-tempered keyboard, but one may make a chord chart or score clearer in different contexts.

Start with C major. Select the corresponding position, check the 0 accidentals, and play the scale. Then select A minor and compare the notes. You will see the same key signature, but a different tonal center. From there, use the circle to study the songs you play, transpose a song you already know, check a chord chart, or build chords on guitar and keyboard.

The widget's sound is for listening comparison. The tool plays the selected tonic, scale, and chords, but it does not replace an instrument: use the sound as a reference and check it on guitar or keyboard. Nothing needs to be installed, and none of your data is sent when the chord is played.

*The full circle in one figure: each clockwise step moves up a perfect fifth and adds one sharp, each counterclockwise step adds one flat, and the three positions at the bottom have two spellings for the same sound. Calculated note by note by the circle engine: a key with k accidentals has its tonic k fifths from C. Figure by Cantivy — free to reuse with a link to this page.*

1. 1 **Choose a key** Tap a position on the outer ring to select a major key or on the inner ring to select its relative minor. Start with C major if you want a reference without accidentals.
2. 2 **Read the key signature** Check how many sharps or flats appear and review the list in the correct order. In D major, look for F# and C#; in E♭ major, look for B♭, E♭, and A♭.
3. 3 **Compare neighboring keys** Look at the keys to the left and right to understand transposition by fifths. Compare G major and D major and identify the C# that appears in the second key signature.
4. 4 **Check the relative key** Compare the major key with the minor key on the inner ring, which shares the same key signature. Play C and Am to hear how the tonal center changes without changing the white notes.
5. 5 **Study the chords** Use the list of seven chords to play the diatonic harmony on guitar or keyboard. Separate the major, minor, and diminished degrees before building a progression.
6. 6 **Hear the key** Trigger the tonic chord and scale to confirm the tonal center by ear. Then play the progression on your instrument at 60 or 72 BPM and notice where the phrase comes to rest.
7. 7 **Transpose a progression** Write down the degrees of the sequence, such as I–V–vi–IV, choose another position on the circle, and replace the chords while keeping the same degrees. In C, C–G–Am–F becomes G–D–Em–C in G.

## How to use the circle of fifths, step by step

Start by choosing a key on the outer ring. Select C major and check the 0 accidentals. The tool shows the C major scale, its relative A minor, the neighboring F major and G major keys, and the seven diatonic chords: C, Dm, Em, F, G, Am, and B°.

Try a 60-second exercise. Play the C chord first. Then activate the scale and sing or play each note in order. Finally, play C, F, and G on your instrument. You will hear the difference between the point of rest, preparation, and tension within the same key.

Next, compare the result with the inner ring. When you select A minor, you find the same key signature as C major because the two keys are relative. The tool lists the A minor chords as Am, B°, C, Dm, Em, F, and G. It also shows the harmonic V: E. This detail appears when the fifth degree receives the alteration needed to function as a major dominant.

On guitar, keep the instrument beside the widget and look for the positions of the indicated chords. Play only the root, third, and fifth if you want to hear the structure without forming a complete shape. On keyboard, play the scale with your right hand at 60 BPM and try the chord roots with your left hand. This way, you turn the list into sound before trying to memorize the names.

If you are checking a chord chart for pop, rock, country, folk, or worship music, list the chords used and compare them with the key segment. In a progression with C, G, Am, and F, for example, C major is a straightforward possibility. Confirm it by playing C at the end of the phrase and noticing whether it conveys a sense of rest.

## Why Keys Move by Fifths: The Logic of the Clockwise Direction

The circle of fifths gets its name because each clockwise step moves up a perfect fifth, or 7 semitones. Starting from C, you reach G; from G, D; from D, A. The full sequence moves through C, G, D, A, E, B, F#/G♭, D♭, A♭, E♭, B♭, and F before returning to C.

This arrangement places keys that share many notes close together. C major and G major differ by only one scale note: F in C major becomes F# in G major. G major and D major also differ by one note in the key signature: D adds C#. This pattern helps explain why a key change can sound natural in an introduction, chorus, or at the end of a song.

That is why G major has 1 sharp, F#; D major has 2, F# and C#; and A major has 3, F#, C#, and G#. The sequence is not just a list of names. It shows the distance between tonal centers and offers a quick way to transpose a progression without recalculating every chord from scratch.

Counterclockwise, you move down a perfect fifth and add a flat. F major has 1 flat, B♭; B♭ major has 2, B♭ and E♭; and E♭ major has 3, B♭, E♭, and A♭. If a melody sits too high for your voice, try a key one or two counterclockwise positions away and compare the range in which you sing the chorus.

Try the exercise now: play C and G, then C and F. The distance between C and G appears in the clockwise direction. The relationship between C and F appears in the counterclockwise direction. Then play G, D, and A to hear a chain of ascending fifths.

## Key signature: the order of sharps and flats

A key signature groups the accidentals that recur in a key. It appears at the beginning of the staff and avoids repeating the same symbol before every note. In a chord chart, you usually find accidentals in chord names; in sheet music, the key signature offers an immediate clue about the scale being used.

The order of sharps is F, C, G, D, A, E, B. So G major has F#; D major has F# and C#; A major has F#, C# and G#; and E major has F#, C#, G# and D#. F# major reaches 6 sharps: F#, C#, G#, D#, A# and E#.

The order of flats is B, E, A, D, G, C, F. It is the order of sharps in reverse. F major has B♭; B♭ major has B♭ and E♭; E♭ major has B♭, E♭ and A♭; and D♭ major has B♭, E♭, A♭, D♭ and G♭. C♭ major uses all 7 flats: B♭, E♭, A♭, D♭, G♭, C♭ and F♭.

When reading a chord chart or sheet music, count the accidentals before looking for the chords. G♭ major has 6 flats: B♭, E♭, A♭, D♭, G♭ and C♭. C major has 0 accidentals. The key signature reduces repeated symbols and offers a clue about the tonal center, but it does not by itself prove that the music stayed in a single key.

To practice, choose D major in the widget and say the two accidentals out loud: F# and C#. Then choose E♭ major and recite B♭, E♭ and A♭. This exercise takes less than a minute and reinforces the order through listening and speaking.

*A key signature never skips a note: D major has the same sharps as G major plus C#, and each following key adds exactly one accidental, in the order F#, C#, G#, D#, A#, E#, B# for sharps and the reverse order for flats. The order of sharps and flats is derived from the circle itself, without a manually entered table. Figure by Cantivy — free to reuse with a link to this page.*

## Relative keys: the inner ring of the circle

Each major key has a relative minor with the same key signature. C major is related to A minor; G major, to E minor; F major, to D minor. The scale notes are the same, but the sense of resolution changes because the tonic is now a different note.

You can find the relative minor by descending 3 semitones from the major tonic. From C, go down to A; from G, to E; from D, to B. You can also count six scale degrees up within the major scale. In C major, the sixth degree is A, so the relative key is A minor.

The inner ring lets you compare the two keys without doing the math. E♭ major has 3 flats, B♭, E♭, and A♭, and its relative is C minor, also with 3 flats. The chords in E♭ major are Eb, Fm, Gm, Ab, Bb, Cm, and D°. The chords in natural C minor are Cm, D°, Eb, Fm, Gm, Ab, and Bb.

In a minor key, the fifth degree can be altered to create a major dominant. In A minor, the natural diatonic chords are Am, B°, C, Dm, Em, F, and G, but the harmonic V indicated by the tool is E. In G minor, the natural sequence is Gm, A°, Bb, Cm, Dm, Eb, and F, with harmonic V D.

Compare them on your instrument. Play C and then Am while keeping to the white keys on the keyboard. On guitar, alternate between the C and Am chords. The available notes are closely related, but the sense of resolution changes. This contrast helps you recognize a relative minor in a worship, pop, or ballad arrangement.

## Neighboring keys: why G major and D major differ by one note

Neighboring keys occupy positions side by side on the circle of fifths. G major and D major are neighbors because G rises a fifth to D. G major has 1 sharp, F#; D major has 2, F# and C#. The only difference in the key signature is C#.

This closeness explains why a song can move from one key to the other with little preparation. The two scales share 6 of their 7 notes. A melody in G major already contains much of the material from D major. The A chord, with C#, can serve as a clear signal that D has become the tonal center.

In pop, rock, country and worship repertoire, relationships between nearby keys appear in transitions, section endings, and key changes to accommodate the singer's range. This does not mean every move between neighboring keys will be automatic. You still need to check the melody, bass line, and chord that receives the resolution.

Neighboring keys also help you identify the key of a chord chart. If you see many G, C, D, Em, and Am chords, G major is a strong possibility. If you see D, G, A, Bm, and Em, D major may be the center. Play D at the end of the progression. If the chord sounds unresolved, test G and A and listen for which resting note organizes the phrase.

To practice in 1 minute, play G–C–D–G and then D–G–A–D. The degree pattern is similar: I–IV–V–I. The material changes key, but the function of the chords remains the same.

*Neighboring keys on the circle share 6 of 7 notes: from F major to C major, only B♭ becomes B, and from C major to G major, only F becomes F#. That is why changing to a neighboring key sounds so natural. Major scales calculated by the circle engine, with columns aligned by note letter. Figure by Cantivy — free to reuse with a link to this page.*

## The chords of each key occupy one slice of the circle

Each position on the circle brings together the key, its relative minor, and the seven chords built on degrees I, ii, iii, IV, V, vi, and vii°. In C major, the chords are C, Dm, Em, F, G, Am, and B°. An uppercase letter indicates a major triad; m indicates minor; and ° indicates diminished.

In G major, the seven chords are G, Am, Bm, C, D, Em, and F#°. In D major, they are D, Em, F#m, G, A, Bm, and C#°. On guitar, select one of these keys and try different combinations across the six strings. On a keyboard, play the root, third, and fifth to hear each triad without relying on a specific position.

The pattern of major triads is I, IV, and V. The pattern of minor triads is ii, iii, and vi. The vii° functions as a diminished chord. In C major, this produces C, F, and G as major chords; Dm, Em, and Am as minor chords; and B° as diminished. This pattern appears in countless popular songs, but the chord order does not always need to follow I–IV–V.

For minor keys, use the corresponding slice of the inner ring. In E minor, the diatonic chords are Em, F#°, G, Am, Bm, C, and D. In B minor, they are Bm, C#°, D, Em, F#m, G, and A. If the song uses B major in E minor, compare it with the harmonic V. The third, D#, creates the strongest pull toward Em.

The [chord generator](https://cantivy.com/en/tools/chord-generator/) helps you check shapes, inversions, and names as you build the harmonic field. Use it this way: choose a chord from the list, play the suggested position, then compare the same triad in an inversion on the keyboard. You will hear that the notes are the same, but the bass changes the chord's feeling.

*Six of the seven chords in a major key fit into a slice of three positions: the tonic and its two neighboring keys on the outer ring (IV, I, V), plus the three relative minor chords directly below (ii, vi, iii). Rotate the slice and you have the diatonic chords for any key. Chords and qualities calculated from the intervals in each triad, not from a table. Figure by Cantivy — free to reuse with a link to this page.*

## Enharmonic Equivalence: F# major or G♭ major, D♭ major or C# major

Enharmonic equivalence occurs when two spellings represent the same pitch in an equal-tempered system but use different names. On the circle, the three lower positions show these alternatives. F# and G♭ occupy the same position; D♭ and C# do as well; F# and G♭ are at the bottom, in the six o'clock position; D♭ and C#, at seven o'clock; B and C♭, at five o'clock.

F# major has 6 sharps: F#, C#, G#, D#, A# and E#. G♭ major has 6 flats: B♭, E♭, A♭, D♭, G♭ and C♭. The tool displays the chords of F# major as F#, G#m, A#m, B, C#, D#m and E#°. In G♭ major, they are Gb, Abm, Bbm, Cb, Db, Ebm and F°.

The E# in F# major sounds like F on the keyboard, but it is named E# because the seventh degree must remain some type of E. The same reasoning explains the Cb in G♭ major: it sounds like B, but preserves the position of the letter C in the scale. This spelling matters when reading and analyzing scale degrees.

D♭ major has 5 flats: B♭, E♭, A♭, D♭ and G♭. Its enharmonic spelling is C# major, with 7 sharps: F#, C#, G#, D#, A#, E# and B#. In practice, D♭ major is usually easier to read for repertoire with flats. C# major can make sense when a passage already uses sharps or when the analysis maintains the same spelling as neighboring keys.

Try it on the virtual keyboard: play F# and G♭ in the same register and compare the sound. Then observe the names in the tool. The sound matches, but the choice of spelling changes how the chords and scale are read.

## Practical uses: transposing, finding a chord chart’s key, and composing

To transpose a song from G to D, move up a fifth and go one step clockwise. The relationship between keys makes it easier to change the key for a lower or higher vocal range. If the original form uses G, C, and D, think in terms of scale degrees I, IV, and V. In D major, the same functions become D, G, and A.

If you need to lower the song from G to F, move one step counterclockwise. G, C, and D become F, Bb, and C. The distance between the chords stays the same, but the range changes. For a voice that reaches G4 with effort in the chorus, transposing to F major lowers the highest note by 2 semitones, to F4. Check the melody within your own range before choosing the final key.

On guitar, the circle helps you choose a key that works with open chords and a capo. You can keep familiar shapes, place the capo at the right fret, and check the actual key on the circle. If you play G shapes with a capo at the 2nd fret, the actual sound is A major. Write down this difference so you do not confuse the visual shape with the key the audience hears.

To understand the [I–IV–V progression](https://cantivy.com/en/chord-progressions/i-iv-v/) and the [ii–V–I progression](https://cantivy.com/en/chord-progressions/ii-v-i/), notice that the scale degrees involved are directly related within the key. In C major, I–IV–V is C–F–G. The ii–V–I progression is Dm–G–C. Play each sequence at 72 BPM and allow two beats for each chord. Then transpose the pattern to G major: G–C–D and Am–D–G.

To find the key of a chord chart, list the chords it uses and compare them with the seven chords in the segment. Then sing or play the chord that seems to feel like home. A chord chart with A, D, E, and F#m suggests A major, but you still need to confirm whether A works as the point of arrival. The final chord helps, but the melody may point to the relative key of F# minor.

On a keyboard, the [virtual piano](https://cantivy.com/en/tools/virtual-piano/) lets you test notes and chords. When you decide to play along with a recording in a new key, open the file you already have in the [Studio to change a song’s key](https://cantivy.com/en/tools/slow-downer/): moving from G major to A major is 2 semitones, and the circle tells you in advance which chords you will find there — A, Bm, C#m, D, E, F#m, and G#°.

The circle also helps you create progressions and follow [music scale](https://cantivy.com/en/learn/musical-scales/) studies. Choose a tonic, combine I, vi, IV, and V, and record a short sequence on your instrument. In C major, try C–Am–F–G; in G major, G–Em–C–D. You will be keeping the same relationship between scale degrees in another key.

It does not choose a composition for you, but it shows harmonic paths you can experiment with. If you are just starting, consult [music theory for beginners](https://cantivy.com/en/learn/music-theory/) and return to the widget to connect each concept with a specific key. Set aside 5 minutes: 1 minute to choose the key, 2 to play the scale, 1 to play the chords, and 1 to write down what sounded most stable.

## Summary

- Move clockwise to ascend by fifths and add sharps; move counterclockwise to descend by fifths and add flats.
- Use the inner ring to find the relative minor key and compare the same key signature.
- Read the seven chords in the order I, ii, iii, IV, V, vi, and vii° to build diatonic chord progressions.
- Compare neighboring keys when transposing, choosing chords for guitar, or checking the key of a chord chart.
- Use the order F, C, G, D, A, E, B for sharps and B, E, A, D, G, C, F for flats.
- Play the tonic, scale, and chords in the widget before taking the idea to your instrument.
- In a minor key, compare the natural fifth degree with the harmonic V chord, such as Em and E in A minor.

Final exercise: select C major, play C–F–G–C, find A minor on the inner ring, and play Am–Dm–E–Am. Then move to G major and repeat the pattern. In under 3 minutes, you will have practiced key, relative minor, dominant, and transposition.

## Frequently asked questions

What is the circle of fifths?

The circle of fifths is a map of the 12 major keys and 12 minor keys arranged by perfect fifths. Each clockwise step rises by 7 semitones and adds a sharp. Counterclockwise, it descends by a fifth and adds a flat. The tool also shows relative keys, key signatures, neighboring keys, and relationships between chords.

What is the difference between the circle of fifths and the cycle of fifths?

In practice, both names refer to the same harmonic organization. Circle of fifths emphasizes the tool's visual shape; cycle of fifths emphasizes the continuous movement between keys. You can start in C and move to G, D, and A, or go the other way through F, B♭, and E♭.

How do I find the key signature of a key?

Select the key on the circle and read the number of accidentals shown. Then check the order. Sharps follow F#, C#, G#, D#, A#, E#, B#. Flats follow B♭, E♭, A♭, D♭, G♭, C♭, F♭. For example, D major has 2 sharps: F# and C#. To memorize them, choose a key and write the key signature once before playing the scale.

What are relative keys?

Relative keys are a major key and a minor key that share the same key signature. C major and A minor have no accidentals; G major and E minor have 1 sharp, F#. The notes are the same, but the tonic changes, altering the feeling of repose and the function of the chords. To find the relative minor, descend 3 semitones from the major tonic.

How do I use the circle of fifths on guitar?

Choose a key, view its seven chords, and find the shapes on the guitar neck. The circle helps you build the diatonic harmony and find closely related keys. When using a capo, keep comfortable shapes and check which concert key is actually sounding. Then test the tonic and progression on the instrument. In C major, start with C, F, G, and Am.

How can I find the key of a chord chart from its chords?

List the chords and compare them with the diatonic harmonies shown on the circle. If the chord chart contains G, C, D, and Em, G major is a strong possibility. If it contains A, D, E, and F#m, A major is also a likely possibility. Look for the chord that conveys repose at the end of a phrase and confirm it by playing the melody over that chord. The chord list helps, but listening confirms the tonal center.

Why does I–IV–V sound so stable?

I is the tonic, IV is the subdominant, and V is the dominant. These degrees form a strong relationship within the key and appear as nearby points in the organization of fifths. In C major, the progression uses C, F, and G. The tension of V usually calls for a return to I. Play C–F–G–C for two beats per chord and notice how the final C closes the phrase.

Why does ii–V–I appear so often?

The ii–V–I progression leads the ear through preparation, tension, and resolution. In C major, the chords are Dm, G, and C. ii prepares V, V creates expectation, and I provides repose. You can study this sequence in different sections of the circle and transpose the same pattern to other keys. In G major, it becomes Am–D–G.

Are F# major and G♭ major the same key?

They are enharmonic: they represent the same pitch on an equal-tempered keyboard but use different spellings. F# major has 6 sharps, while G♭ major has 6 flats. The choice depends on the context of the score, the surrounding chords, and which spelling is easier for the musician to read. F# major includes E#; G♭ major includes C♭. These names preserve the letter order of the scale.

What does harmonic V mean in a minor key?

It is the fifth chord with the alteration that creates a major dominant and increases its pull toward the tonic. In A minor, the diatonic list shows Em on the fifth degree, but the indicated harmonic V is E, with G#. In E minor, the harmonic V is B, with D#. The tool separates this information so you can compare the natural minor scale with dominant function.

Does the circle identify the key precisely?

The circle organizes theoretical relationships; it does not determine the key of a recording or chord chart by itself. A song may use borrowed chords, modulations, and a relative minor. That is why the final word belongs to your ear: play the tonic suggested by the circle over the end of the phrase and confirm whether the music comes to rest there.

How many keys are there in the circle of fifths?

There are 12 positions, and each one contains a major key and its relative minor: 24 keys that sound different. Counting the enharmonic spellings of the three lower positions, music theory uses 15 major keys, from C♭ major, with 7 flats, to C# major, with 7 sharps. In practical chord charts, D♭ major and B major appear much more often than C# major and C♭ major.

What is the fastest way to memorize the circle of fifths?

Memorize two phrases and one rule. The order of sharps is F#, C#, G#, D#, A#, E#, B#; the order of flats is the same read backward. The rule: the last sharp is a half step below the tonic, and the second-to-last flat is the tonic itself. With this, E major has 4 sharps and the last one is D#, while A♭ major has 4 flats and the second-to-last one is A♭. Check it on the [virtual piano](https://cantivy.com/en/tools/virtual-piano/) by playing the scale.

## Keep exploring

- [Build the seven chords of your chosen key in the **chord generator**](https://cantivy.com/en/tools/chord-generator/)
- [Play the scale on the **virtual piano**, one note at a time](https://cantivy.com/en/tools/virtual-piano/)
- [The **I–IV–V progression**: the tonic and its two neighboring keys on the circle](https://cantivy.com/en/chord-progressions/i-iv-v/)
- [The **ii–V–I progression** moves around the circle counterclockwise](https://cantivy.com/en/chord-progressions/ii-v-i/)
- [**Musical scales**: major, natural minor, and more](https://cantivy.com/en/learn/musical-scales/)
- [**Music theory** for beginners](https://cantivy.com/en/learn/music-theory/)
- [Play along with a song in your chosen key in the **Studio**](https://cantivy.com/en/tools/slow-downer/)

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