If the major scales of C and F are similar, then isn't it safe to assume that their major chords are similar?

In fact, to play from a C major to an F major triad (three-fingered chord), you don't even have to change your hand position. Try it...

Major Triads

Play: C E G   (Bass = C)

Then Play: C F A (Bass = F)

(notice the C's don't change).

Major Seventh Chords

The same applies to 4-fingered chords...

Play: C E G B   (Bass = C)

Then Play: C E F A    (Bass = F)

Major Ninth Chords

The same applies to 5-fingered chords...

Play: C E G B D   (Bass = C)

Then Play: C E F G A   (Bass = F)

If you really look closely, the Fmaj9 actually has a Cmaj triad inside of it (locate C, E, and G in the second chord above and you'll notice exactly what I'm talking about). See... there are relationships all throughout this circle!

... So What Does This Mean?

Well, this simply means that you can go down the ENTIRE circle with these types of close relationships not having to change more than a few fingers from one note to the next.

If C to F produces this easy of a transition, then F to Bb ... Bb to Eb ... Eb to Ab, and so on (see circle below) will produce the same effect:

Exercises

1) Major Sevenths

Basically, here's what you do with this exercise...

Start with Cmaj7:

C + E + G + B

... and instead of going to F A C E (which is an Fmaj7 in root position), you're going to go to the closest inversion of the Fmaj7. Remember: An inversion is another way to play the same chord.

There are four ways to play an Fmaj7 (a.k.a. "inversions"):

F + A + C + E

A + C + E + F

C + E + F + A

E + F + A + C

Which inversion would work best coming from a Cmaj7 (C + E + G + B) ???

Of course the (C + E + F + A) because your lowest note is already on C!

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Now to get from the Fmaj7 to the next chord on the chart (Bbmaj7) simply LOWER THE BOTTOM TWO NOTES ONE-WHOLE STEP.

Let's take a look:

C E F A  (Bass = F)

*** Move C down one whole step to Bb

*** Move E down one whole step to D

Bbmaj7

Bb D F A  (in its root position)   Bass = Bb

.... and now, you simply follow the first step by lowering its highest two notes down to get to the next chord. Don't worry if you don't understand these steps yet. Just re-read this lesson and it'll make sense soon!

RECAP:

1) Lower highest two notes down one-whole step

2) Lower lowest two notes down one-whole step

3) Repeat process over and over (highest two, lowest two, highest two, lowest two).

*This will literally be your first exercise. I warn you: The first time, you'll be doing a lot of thinking (high two, low two, high two, low two) but as you get better and better, you'll build speed and you'll know which chords come next on the circle.

Here's the exercise, chord for chord:

Listen to Exercise 1 (played regularly)     

Listen to Exercise 1 (played rhythmically)

2) Major Sevenths (voiced differently)

Now that you understand the concept of using the circle of fifths to play chords, here are some more arrangements to practice:

Listen to Exercise 2                              

* If you play the chords above softly as you transition from one to the other, you'll notice very nice progressions that you can use in songs, accompaniments, and for warm-up.

3) Minor Ninths

What do I do next?

Now that I've given you just three ideas of what you can do with the circle of fifths, it is your turn to use this process to practice all chord types. Remember, there WILL ALWAYS be a connection between one note on the circle and the next so it is your job to find that connection! For example, C maj to F maj will connect somehow and you'll never find yourself having to move all of your fingers --- I PROMISE.

Explore these chord types and how they connect on the circle of fifths chart: