Hey Richard,
Thanks a lot for your reply 
!
So if I understand correctly a Do in solfege could be any of the notes in the note circle depending on the key of the major scale. In the key of C for instance we would have Do = C, Re = D, Mi = E, etc… Is that correct?
@Richard_close2u mentioned the ‘circle of fifths’ above. Did we already cover that?
I just got to the “Key Signatures On Staves” lesson, and had to come back hear to figure out why we’re in the DGDAEB… order (so that I could understand why the ‘order of #s’ is FCGDAEB…). Knowing the order on the Major Scale Worksheet are based on the circle of fifths (which I’ve heard of but don’t recall learning anything about yet) made me think I may have missed something earlier or I didn’t do a pre-req or something we’re assumed to know…?
Thanks!
Maybe I’m running ahead of things (and I deliberately did not read the other comments in this discussion just yet because I love to figure out stuff myself) but whilst trying to figure out the logic in the scale chart I noticed the following:
The distance between each key in the sequence CGDAEBF#C# is 5 semitones backward on the note circle
The distance between each added sharp is 5 semitones backward on the note circle as well
The distance between each key in the sequence (C)FBbEbAbDbGbCb is 5 semitones forward on the note circle
The distance between each added flat is 5 semitones forward on the note circle as well
What I can’t figure out just yet is why F# and Bb are the first sharps and flats?
Is there a logic in that as well or am I indeed running ahead of things and will this become clear in a later stage?
We typically start from the key of C, which has no sharps or flats, only natural notes.
Going clockwise around the cycle of fifths, we add sharps.
Key of G = 1 sharp: F#.
Key of D = 2 sharps : F# and C#.
Key of A = 3 sharps: F#, C# and G#.
So the next key has the same sharps as the previous one plus one extra.
Going anti clockwise we have the same principle but with flats.
Key of F = 1 flat: Bb.
Key of Bb = 2 flats: Bb and Eb
Key of Eb = 3 flats: Bb, Eb and Ab.
And so on.
So the sharps and flats are added in a fixed order. Mr. Cato’s key signature trick will help you remember the order.
The first sharp added is F#.
The first flat added is Bb.
I just started it but I’m really digging this major scale theory, it’s not only good for my musical knowledge and understanding but also good for a bit of 
training!
Everytime I look at the scale chart I see something new making it easier to memorize things.
Looking at C to C#
Cb to F
@floriske I use mnemonic phrases to remember the order of sharps and flats in scales based on the circle of 5ths.
For sharps the phrase is Father Charles Goes Down And Ends Battle, you just use the first letter of each word for each sharp.
So C major only has 0 sharps.
G major has one sharp which is (Father) = F#
D Major has two sharps which are (Father Charles) = F# and C#
A major has three sharps so (Father Charles Goes) = F# C# and G#
Etc…
For flats reverse the phrase to :-
Battle Ends And Down Goes Charles Father
F has 1 flat which is (Battle) = B flat
B flat has two flats so (Battle Ends) = B flat and E flat
Etc…
The flats phrase is also useful for learning note positions on the fretboard but’s thats a different topic.
Hi, how long should I keep doing this exercise before moving on? I already done it twice with the note circle without any mistakes and I also done it without the note circle once without any mistake. Do I need to internalize everything first in my mind before moving on?
It seems you’re ready to move on now. You will, in no time, gain a working facility to know some major scales without having to think - the most common ones. But the option to figure them out due to a working knowledge will see you right.
5 posts were split to a new topic: I transcribed a jazzy melody and am unsure how to view it in terms of scale / mode
Hi guys,
I am fairly new to practical music theory and am currently studying the Major Scale Theory. I understand how the scale for each key can be determined based on the circle of fifths and the major scale formula TTSTTTS.
However, I can’t quite understand why the major keys (starting notes) are in a specific order in Justin’s workbook for this module. Specifically, I am confused about the table in which I am supposed to practice the sequence for each major scale, particularly the column marked as “I” (tonic). The circle of fifths has 12 steps/tones, but the table has 15 lines. This means there are some duplicates—tones that sound the same but have different names, such as sharps and flats.
So, why is the content of the first column in that specific order (C, G, D, A, E, …) and why are there duplicates like F# and Gb or C# and Db, while some other notes are missing?
Sorry for the rookie question, but I am a logical person and need to understand the reasoning behind this to grasp the topic fully.
The sharps appear in the same order as the notes in the circle of fifths follow each other. Flats appear in the order of the circle of fourths, which is the same as the CoC backwards.
As you mentioned, there are sharp and flat keys as well. Even though there are enharmonic equivalents, from an analytical aspect they will be different (see: each “letter” has to appear only once in a given scale).
Actually, given a starting note, the major scale formula gives you the notes in the scale, you don’t need the circle of fifths for that.
(Sorry, not in the theory course, but sounds like Jozsef has answered your specific question.)
Actually, the circle of fifths shows the notes of a given major scale (courtesy of @Richard_close2u ):
Full CoC:
C major scale on the CoC:
The root note of the major scale can be found in the second field from the left. By rotating the CoC and selecting a different set of 7 adjacent fields, you can find the notes of the major scale of your choice. All you have to do then is to order the notes alphabetically.
Hello Marek,
The order aligns with the incremental number of sharps and flats that occur in each key, which are a fifth apart;
ie C has no sharps or flats
G has one sharp
D has 2 sharps
…
C# has 7 sharps.
The same for flat keys .
F has one flat
Bb has 2 flats
…
Cb has 7 flats
Now, some keys here are purely theoretical. You would never use them in music, but must be shown here for completeness, and to show how the mathematics works. You will also see some eg F#/ Gb which are sonically equivalents - called ‘enharmonic equivalents’ - but function differently.
I had all these same questions. Perfectly normal. Over time it becomes very clear.
Thats enough from me. Richard, @Richard_close2u approved teacher and resident theoretical guru, will likely spot this, and answer much more eloquently, and fully.
Cheers, Shane
You’ve had good explanations.
They follow in the order provided by the Circle of Fifths (or the Mr Cato’s trick diagram).
Some enharmonic equivalents are used more than others.
The major scale of C# is never used (Db would be the preference).
The scale of F# is, sometimes, as is Gb.
@sclay no need for me really -
Many thanks for the explanation. Now it’s much clearer; there seems to be some logic behind it after all. So, if I understood correctly, that particular order of root notes is mostly determined by the increasing number of sharps and flats, and some keys are more preferred than others.
My additional question is as follows:
It’s not a problem to practice filling in Justin’s Major Scale Worksheet as long as I know the circle of notes, which I do, and the major scale formula.
I think that for actual guitar playing and eventually some improvisation, it is more important to know the scales and scale patterns than the order of the root notes in the worksheet.
Do I understand this correctly?
Thanks in advance.
I believe it is very important to commit this order to memory; the ‘order of sharps/flats’.
Complimentary to this is the sequence; ‘number of sharps/ flats’.
These 2 will form a matrix in your mind over time that will become invaluable.
It will assist you greatly in memorising and recalling notes in a key, for you’ll know from this how many sharps or flats exist, and what they sre. This then extends to scales, then chords etc. Its all connected; and what you are learning now is the bedrock of it all.
Cheers, Shane
Yes, it’s important to know which notes are in a given major scale, but I don’t think rote learning is the way to go about it. After some time, you will know which notes are in a given scale. For example, you will know that the 7th degree of the scale is always a semitone lower than the root note (B in the C major scale, F# in the G major scale, etc). That will also tell you which are the sharps/flats in that particular scale.
The intervals on the fretboard will also help you navigate and find the right notes to play (or the not-so-right notes to avoid) and relieve you of the burden of thinking about the major scale formula all the time.
@marek_branicky the most used keys on guitar are C G D A E and just happen to be the chords in Hey Joe. So if you learn Hey Joe (Justin has a beginner lesson) it will help you learn the order of the first 5 sharps which are the same but starting with F. The sharps are F C G D A for the most used keys on guitar.
C has 0 G has 1(F#) D has 2(F# and C#) ect.
Just a trick I used when I first started learning the Circle of 5ths.