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	===Nineteenth century===		===Nineteenth century===

	During the nineteenth century, composers made use of the circle of fifths to enhance the expressive character of their music. [[Franz Schubert]]'s poignant Impromptu in E flat major, D899, contains such a passage:[[File:Schubert Impromptu in E flat 01.wav\|thumb\|Schubert Impromptu in E flat]] [[File:Schubert Impromptu in E flat 02.png\|thumb\|center\|500px\|Schubert Impromptu in E flat]] – as does the [[Intermezzo]] movement from [[Mendelssohn]]'s [[String Quartet No. 2 (Mendelssohn)\|String Quartet No.2]]:[[File:Mendelssohn String Quartet 2, 3rd movement (Intermezzo).wav\|thumb\|Mendelssohn String Quartet 2, 3rd movement (Intermezzo)]][[File:Mendelssohn String Quartet 2, 3rd movement (Intermezzo).png\|thumb\|center\|450px\|Mendelssohn String Quartet 2, 3rd movement (Intermezzo)]]Robert Schumann's evocative "Child falling asleep" from his ''[[Kinderszenen]]'' springs a surprise at the end of the progression: the piece ends on an A minor chord, instead of the expected [[Tonic (music)\|tonic]] E minor.[[File:Schumann, Kind im Einschlummern (Child falling asleep) 01.wav\|thumb\|Schumann, Kind im Einschlummern (Child falling asleep)]] [[File:Schumann, Kind im Einschlummern.png\|thumb\|center\|500px\|Schumann, Kind im Einschlummern]]In [[Wagner]]'s opera, [[Götterdämmerung]], a cycle of fifths progression occurs in the music which transitions from the end of the prologue into the first scene of Act 1, set in the imposing hall of the wealthy Gibichungs. "Status and reputation are written all over the motifs assigned to Gunther",<ref>Scruton, R. (2016, p. 121) The Ring of Truth: The Wisdom of Wagner's Ring of the Nibelung. London, Allen Lane.</ref> chief of the Gibichung clan:[[File:Wagner, Gotterdamerung, transition between the end of the Prologue and Act 1 scene 1.wav\|thumb\|Wagner, Götterdämmerung, transition between the end of the Prologue and Act 1 scene 1]] [[File:Wagner, Gotterdamerung, transition between the end of the Prologue and Act 1 scene 1.png\|thumb\|center\|500px\|Wagner, Götterdämmerung, transition between the end of the Prologue and Act 1 scene 1]] [[Ravel]]'s [[Pavane pour une infante défunte\|"Pavane for a Dead Infanta"]], uses the cycle of fifths to evoke Baroque harmony to convey regret and nostalgia for a past era. The composer described the piece as "an evocation of a [[pavane]] that a little princess ([[infanta]]) might, in former times, have danced at the Spanish court.":<ref>Andres, Robert, "An introduction to the solo piano music of Debussy and Ravel", BBC Radio 3, accessed 17 November 2011</ref>~~[[File:Ravel Pavane live recording.wav\|thumb\|Ravel, Pavane pour une Infante Défunte]]~~[[File:Ravel Pavane pour une infante defunte.png\|thumb\|center\|700px\|Ravel Pavane pour une Infante Défunte]]		During the nineteenth century, composers made use of the circle of fifths to enhance the expressive character of their music. [[Franz Schubert]]'s poignant Impromptu in E flat major, D899, contains such a passage:[[File:Schubert Impromptu in E flat 01.wav\|thumb\|Schubert Impromptu in E flat]] [[File:Schubert Impromptu in E flat 02.png\|thumb\|center\|500px\|Schubert Impromptu in E flat]] – as does the [[Intermezzo]] movement from [[Mendelssohn]]'s [[String Quartet No. 2 (Mendelssohn)\|String Quartet No.2]]:[[File:Mendelssohn String Quartet 2, 3rd movement (Intermezzo).wav\|thumb\|Mendelssohn String Quartet 2, 3rd movement (Intermezzo)]][[File:Mendelssohn String Quartet 2, 3rd movement (Intermezzo).png\|thumb\|center\|450px\|Mendelssohn String Quartet 2, 3rd movement (Intermezzo)]]Robert Schumann's evocative "Child falling asleep" from his ''[[Kinderszenen]]'' springs a surprise at the end of the progression: the piece ends on an A minor chord, instead of the expected [[Tonic (music)\|tonic]] E minor.[[File:Schumann, Kind im Einschlummern (Child falling asleep) 01.wav\|thumb\|Schumann, Kind im Einschlummern (Child falling asleep)]] [[File:Schumann, Kind im Einschlummern.png\|thumb\|center\|500px\|Schumann, Kind im Einschlummern]]In [[Wagner]]'s opera, [[Götterdämmerung]], a cycle of fifths progression occurs in the music which transitions from the end of the prologue into the first scene of Act 1, set in the imposing hall of the wealthy Gibichungs. "Status and reputation are written all over the motifs assigned to Gunther",<ref>Scruton, R. (2016, p. 121) The Ring of Truth: The Wisdom of Wagner's Ring of the Nibelung. London, Allen Lane.</ref> chief of the Gibichung clan:[[File:Wagner, Gotterdamerung, transition between the end of the Prologue and Act 1 scene 1.wav\|thumb\|Wagner, Götterdämmerung, transition between the end of the Prologue and Act 1 scene 1]] [[File:Wagner, Gotterdamerung, transition between the end of the Prologue and Act 1 scene 1.png\|thumb\|center\|500px\|Wagner, Götterdämmerung, transition between the end of the Prologue and Act 1 scene 1]] [[Ravel]]'s [[Pavane pour une infante défunte\|"Pavane for a Dead Infanta"]], uses the cycle of fifths to evoke Baroque harmony to convey regret and nostalgia for a past era. The composer described the piece as "an evocation of a [[pavane]] that a little princess ([[infanta]]) might, in former times, have danced at the Spanish court.":<ref>Andres, Robert, "An introduction to the solo piano music of Debussy and Ravel", BBC Radio 3, accessed 17 November 2011</ref>[[File:Ravel Pavane pour une infante defunte.png\|thumb\|center\|700px\|Ravel Pavane pour une Infante Défunte]]

	===Jazz and popular music===		===Jazz and popular music===

Suryabeej: Created page with "{{Short description|Relationship among the 12 tones of the chromatic scale, their corresponding key signatures, and the associated major and minor keys;geometrical representat..."

2021-06-26T08:44:58Z

Created page with "{{Short description|Relationship among the 12 tones of the chromatic scale, their corresponding key signatures, and the associated major and minor keys;geometrical representat..."

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Circle of fifths - Revision history

Delinker: Bot: Delinking broken file(s) using script (info)

Suryabeej: Created page with "{{Short description|Relationship among the 12 tones of the chromatic scale, their corresponding key signatures, and the associated major and minor keys;geometrical representat..."