Re Ragtime Cycle
I – VI7 – II7 – V progression in Re major
Re Ragtime Cycle — I – VI7 – II7 – V
The D Ragtime Cycle (D – B – E – A) 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 (DMaj7 – B7 – E7 – A7), the forward cycle-of-fifths motion becomes irresistible.
Playing in Re major
D major is one of guitar's most resonant keys. The open D string acts as a droning root, and the open A string provides the fifth. This gives D-based strumming a wide, ringing quality that flatpicks and fingerpicks love. D is a beginner-level key on guitar because the open D and A strings provide a powerful bass foundation, and the open high E is the 2nd scale degree adding brightness. Beginners will find this key approachable since most chords use open voicings with minimal stretching.
Voice Leading
The bass line moves through D to B (descending minor third), B to E (ascending perfect fourth), E to A (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 A to D by perfect fourth.
Capo Transposition
To play in D using familiar open chords: capo 2 with open C shapes; capo 5 with open A shapes; capo 7 with open G 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
D 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, D 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.