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Pedagogical Analysis · Harmonic Circle

Pedagogy & Analysis of the B Major Circle

B — G#m — C#m — F#7

Meter4 / 4
Tempo85 BPM
CapoNo capo
StrummingAcoustic Pop #5
BG#mC#mF#7
Back to B SimulatorPractise this circle in the transposer

Written by CifraLab · 8 min read · 9 sections

Harmonic Circle and Tonal GravityOrbital diagram displaying fundamental bass gravity moving from tonic (I) to subdominant, dominant, and resolution.BASSFUNDAMENTALITONICviMINORiiPREPARATIONV7TRITONETONIC (I)TENSION (V7)RESOLUTION (I)
Fundamental bass gravity (I - vi - ii - V7) · CifraLab illustration

Listen to the whole journey

  1. B
  2. G#m
  3. C#m
  4. F#7
  5. B
Tap the button and follow the chords, then read each phase knowing how it sounds.

How the tension moves

1

Phase 1 • Diatonic Tonic

The Home (Tonic — Degree I)

B

Tonal rest function (Riemann, 1893): Acts as the acoustic gravitational center and tonal anchor. All notes of the diatonic scale find stability in this chord. Playing B establishes the consonant foundation of the key — generating neither tension nor urgency of movement.

Listen

  1. B
It sounds calm, like a starting point that doesn't ask to go anywhere.
View fingering and notes for B
2

Phase 2 • Subdominant and Relative

The Landscape (Subdominant — Degrees vi and ii)

G#m

Diatonic voice leading (Schoenberg, 1911): Transitioning to G#m introduces the first harmonic departure from the tonic. By sharing common tones with the opening chord, voice leading across the neck remains smooth and organic. It provides a warm, introspective minor texture before driving the progression toward the dominant.

Listen

  1. B
  2. G#m
From B to G#m the color changes, but it remains calm because they share notes.
View fingering and notes for G#m
3

Phase 3 • Dominant with Tritone

The Adventure (Dominant — Degree V7)

C#m → F#7

Instability and harmonic pull (Rameau, 1722): The dominant chord F#7 harbors the leading tone and the diatonic tritone interval. This internal dissonance produces the peak acoustic tension of the progression, and the ear waits for the return home.

Listen

  1. C#m
  2. F#7
It stops on F#7 on purpose. Notice how it hangs in the air, asking to come back.
View fingering and notes for F#7
4

Phase 4 • Authentic Cadence

The Return (Cadential Resolution)

B

Release and resolution of tension: The descending fifth bass movement (F#7 to B) instantly dissolves all accumulated harmonic tension. The tritone resolves contrary-motion into the third and root of B, completing the cycle with total acoustic balance.

Listen

  1. F#7
  2. B
Now, F#7 returns to B and the tension is suddenly released.
View fingering and notes for B

Check it with your ear

Two short questions to solidify what you've just read. There's no grade or record, so if you get it wrong, you can listen again and try again.

Which chord creates the tension that asks to return to B?

Listen to both endings. Which one sounds finished?

Try it on your guitar

Play and stay there for four beats without moving. Then play . That relief you feel is the resolution this lesson talks about. Repeat it three times and then try the whole circle at 85 BPM.

Inside the key of B major

The seven notes of B major are B, C#, D#, E, F#, G# and A#. It has five sharps, C#, D#, F#, G# and A#.

G# minor uses the same seven notes, which makes it the relative minor. Compared with E major, only one note changes, A# becomes A. Compared with F# major, only one note changes, E becomes E#.

In F#7, the third A# and the seventh E sit six semitones apart, a tritone. In the guitar shape of F#7, A# sounds on string 3, fret 3 and E on string 4, fret 2.

With a capo it also works with other shapes. You can play it with the A shape and the capo at fret 2 or with the G shape and the capo at fret 4 or with the E shape and the capo at fret 7.

Theoretical Foundations

All sources

Hear and practise this circle in context

The bass line and the tonal centre

Play B alone, then play the four chords in order: B – G#m – C#m – F#7.

Tonic, preparation and dominant

Apply that map to B – G#m – C#m – F#7 rather than assuming that the same chord must play the same role in every song. Name the starting chord B aloud; then pause after G#m and ask which note you still hear as home. Repeat after C#m and after F#7.

When the dominant contains a tritone

In this circle, F#7 is a dominant seventh chord: the “7” in its symbol marks the added seventh. Its third and seventh form a tritone, an interval of three whole tones that creates tension toward B. Play F#7 → B below and follow those two inner voices: the third rises by a semitone toward the tonic, while the seventh descends by step to a note in the tonic chord.

Listen

  1. F#7
  2. B
Now, F#7 returns to B and the tension is suddenly released.

Common tones and economical fingering

Move from B to G#m slowly and listen for a pitch that can remain still; if there is none, listen for voices that move by the smallest intervals. Repeat with G#m to C#m, C#m to F#7, and the return to B.

A measured practice routine

First play B – G#m – C#m – F#7 with one downstroke at the beginning of each measure.

Transpose without changing the functions

Compare the two versions by singing the first note of B and then the first note of its counterpart in the new key.