La Ragtime Cycle
I – VI7 – II7 – V progression in La major
La Ragtime Cycle — I – VI7 – II7 – V
The A Ragtime Cycle (A – F# – B – E) converts the vi and ii into secondary dominant 7th chords, driving relentlessly through the circle of fifths. Mixolydian Pentatonic outlines each dominant chord cleanly; the Bebop scale adds chromatic passing tones for authentic ragtime and early jazz phrasing. Mixolydian mode fills out the full chord-scale vocabulary. With seventh voicings (AMaj7 – F#7 – B7 – E7), the forward cycle-of-fifths motion becomes irresistible.
Playing in La major
A major is a rock and blues cornerstone. The open A string delivers a strong root, while both E strings ring as the fifth. Classic A-D-E progressions practically play themselves with open cowboy chords. The open high E is the fifth, reinforcing power. A is a beginner-level key on guitar because the open A string is the root and the open E strings provide the fifth above and below, creating a massive low-end anchor. Beginners will find this key approachable since most chords use open voicings with minimal stretching.
Voice Leading
The bass line moves through A to F# (descending minor third), F# to B (ascending perfect fourth), B to E (ascending perfect fourth). The root motion by larger intervals (fourths and fifths) gives each chord change a strong, decisive character. When the progression loops, the bass returns from E to A by perfect fourth.
Capo Transposition
To play in A using familiar open chords: capo 2 with open G shapes; capo 5 with open E shapes; capo 7 with open D shapes. Choose the capo position that gives you the voicings you prefer — lower capo positions produce a fuller sound, while higher positions create a brighter, mandolin-like timbre.
Scales for Soloing
A major pentatonic works because every note is either a chord tone or a safe passing tone — there are no avoid notes. For soloing, this means you can play freely without clashing. Over dominant seventh chords, A Mixolydian adds the flat seventh for an authentic blues-rock edge.
Strumming Pattern
Use Freddie Green-style comping: short, muted chord stabs on beats 2 and 4 at 120-160 BPM. Keep the chords tight and percussive, lifting your fretting hand slightly after each attack to control sustain.