Mi Ragtime Cycle
I – VI7 – II7 – V progression in Mi major
Mi Ragtime Cycle — I – VI7 – II7 – V
The E Ragtime Cycle (E – C# – F# – B) 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 (EMaj7 – C#7 – F#7 – B7), the forward cycle-of-fifths motion becomes irresistible.
Playing in Mi major
E major is arguably guitar's most powerful key. The open low E and high E strings ring sympathetically as the root, while the open B provides the fifth. This triple reinforcement gives E-based riffs and chords unmatched depth and volume. E is a beginner-level key on guitar because both the low E and high E strings ring as the root, and the open B is the fifth — three open strings reinforce the tonic chord. Beginners will find this key approachable since most chords use open voicings with minimal stretching.
Voice Leading
The bass line moves through E to C# (descending minor third), C# to F# (ascending perfect fourth), F# to B (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 B to E by perfect fourth.
Capo Transposition
To play in E using familiar open chords: capo 2 with open D shapes; capo 4 with open C shapes; capo 7 with open A 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
E 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, E 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.