Circle of fifths
Turn the wheel. See the chords. Find the pentatonics.
G A B C D E F♯ · 1 sharp
Harmony
The chords of G major
- IG
- iiAm
- iiiBm
- IVC
- VD
- viEm
- vii°F♯°
- I–IV–V
- G · C · D
- ii–V–I
- Am · D · G
- I–V–vi–IV
- G · D · Em · C
Why D pulls to G
D is the V chord, built on the 5th note of G major: D F♯ A. Its middle note, F♯, is one fret below G, and your ear wants it to step up and land there. That half-step pull is what makes D → G sound like arriving home.
ii–V–I (Am → D → G) adds one more step before it. Each root falls a fifth to the next — A → D → G, counterclockwise around the outer ring — so the whole progression sounds like it’s heading home.
A strong pull, not a rule: songs often go somewhere else, and that surprise is part of the sound.
Improvisation
Three minor pentatonics in G major
A minor pentatonic has five notes, and no two of them are a fret apart. G major has two pairs of notes that are: B–C and F♯–G. Each pentatonic below keeps one note from each pair, which is why it’s so forgiving.
- Emvi · relative minor
E G A B D
Holds every note of G (G B D), the I chord, so it sounds most settled over G. Same five notes as G major pentatonic. Leaves out C and F♯.
The same notes also sit in C, G and D major, so this shape works in all three keys.
- Amii
A C D E G
Holds every note of C (C E G), the IV chord, so it sounds most settled over C. Same five notes as C major pentatonic. Leaves out B and F♯.
The same notes also sit in F, C and G major, so this shape works in all three keys.
- Bmiii
B D E F♯ A
Holds every note of D (D F♯ A), the V chord, so it sounds most settled over D. Same five notes as D major pentatonic. Leaves out G and C.
The same notes also sit in G, D and A major, so this shape works in all three keys.
None of these notes is wrong in G major, but the chord underneath decides which ones sound resolved. When the chord changes, aim for its notes: C E G over C, D F♯ A over D.