IV-V7-I-I7, then I dominant leads to IV.

Start higher on the fingerboard as this progression naturally leads you lower each time. Then go
through all the inversions for each of the chords before you get to the nut. See letter A - in the key of C.
LETTER B - add melody. LETTER C - another option is to stay in the same position which has smoother voice leading. But to get the
movement down you have to do some leaping.
LETTER D - For smoother voice leading try IV-IVmin-I-I7. Add moving parts as before. also, I-I7-IV-IVmin-I-V7-I. Note that V does not
always have to be dominant - the flat 7 can appear in the melody instead of the chord.
LETTER E - IV, V, I, III7, VIMIN, II7, IIMIN, V, I. Then to i7 and back to IV if desired...

We are trying to examine a system of inversions that live on the same string set. If we don't keep them all on the same string set
it's much less clear what system it is! So for now keep them all on the same string set until you decide to do something different.

LETTER F - Cycle 6. In C - C, Am, F, Dm, Bmin7 flat5, G7, Em, C. Try adding the V7 of each of these chords prior to their arrival. You
get to a point where you have to decise weather to stay in the key or continue chromatically. From the Dm is the "wrinkle" or the
crux moment. You can say F7 and go to Bflat and start all over again in the key of B flat. Note that Bmin7 flat 5 doesnt like to be
an arrival chord. This one climbs up. This is chromatic voice leading on cycle 6. C - E7, Am - C7, F - A7, Dm - F7-31:13 Tim plays this progression

Secondary dominants-there are three attributes that every secondary dominant have. 1-it's a dominant 7th chord of some kind 2-it has a ditonic root
3-it leads to another diatonic chord. Every key has a primary dominant, so secondary dominants mean they pertain to
the key. IOW they are not the primary dominant (which every key has one) but they are secondary in a similars
capacity, meaning that they are acting like the V chord of other chords in the key..that's why the second rule is that they
are dominant chords that move to another chord in the key. SO...every chord in the key can be a secondary dominant
(except the primary dominant) and the IV chord - beacause when the IV chord moves a fourth (or fifth) it moves out
of the key. And IV dominant usually goes back to I - it doesn't act like V of the next thing. The sub-dominant chord is a
unique chord!

It could go out of the key briefly to flat7 dominant and then have flat7 dominant move back to the key because that's a
function of flat7 dominant. Or it can go from IV ot IV minor and move back to the root that way. But it's at the IV chord where the cycle 6 breaks down
because of the fact that if you were to continue you would go out of the key. SO at 36:00 - C, E7, A-, C7, F,A7. D-,F7, Bflat, D7, G-. Itmodulates down a
whole step and if you keep doing that you come back around to your original key. 37:00 I, III7, vi, I7, iv, VI7, ii, iv7, flatvii (becomes new key) D7, G-, Bflat7,
Eflat, G7, C-, Eflat7, Aflat,C7,F-,Aflat7, Dflat.

Turnaround I, I/iii, Iv, either #ivdim or iv min, I, VI,II V

LETTER G Note that in cycle 6, the 5 in each trid goes to the 6 and becomes the root of the new chord and that's all that changes. Middle, top, bottom. Note
that you get all three inversions of every chord in the key going all the way up.
LETTER H - If you move a half step instead of a whole step you get the V of the next chord. **GET TIM TO EXPLAIN THIS AGAIN FORMULA DOES NOT SEEM TO
HOLD - MAYBE THE FORMULA IS 5, #5, 6, the the ROOT RISES.
note thet the voice that's rising shifts strings. 1st it rises on the G string, then on the B string,

George Van Epps - "the difference between a good guitar player and a bad one is about the thickness of a matchbook"
 Expansion on IV V I and Cycle 6

A F G7
C bC7 F G7 C C7 F G7 C C7 F G7
4 n

b
n

b n
&4
IV V7 I I7
13 12 13 11 10 8 8 8 6 6 5 5 1 0
14 12 12 12 10 10 9 9 5 4 5 3 2 0
15 15 14 14 10 9 10 8 7 5 5 5 3 3

14:10

C B F G7 C bC7 F G7 C C7
b


& w
w n b
w
12
1 13 15 8 12 8 13 12 10 8 11 13 11 5 13 13 8 8 5 8 10 12 13 5 10 11
0 14 10 12 10 10 10 5
2 15 14 10 9 8

15:28

F G7 C C7 F G7 C G A w
C

n b
w w
&
n
5 3 0 0 3 8 8
8 6 3 5 6 5 8 5 5 3 1 3 0 3 1 5 8 10 8
5 5 4 5 5 3 3 2 0 0 7 9 9
7 5 5 5 5 3 3 2 5 9 10

C F G7 C C7 F G7
C C7
b n b



&

12 15 13 12 15 12
13 13 12 13 15 12 13 13 13 15 13 15 13 12 13 15 13
14 12 15 14 12 12 12 15 14 12
15 15 15 14 14 15 15 14 14

17:22
 17:36 3
F G7 D F F C C7 F F C C7 F F
n b b
b


& b b

17 15 13 12 13
13 13 13 13 11 10 9 8 8 6 6
14 16 14 13 12 12 10 10 9 9 5 5
15 15 15 15 14 14 10 10 10 8 7 6

C C7 F F C C bC7 F bF
C G7 C
w
w
w
& b b w
w
w
5 5 13 11 13 13 13 12 13
5 5 5 5 12 12 14 13 12 12 12
5 8 7 6 5 14 14 15 15 14 15 14
10 8 8 7

21:00 27:48
E F G7 C
# E7 A
# D7 D
G7 C
w F b #
n w
w #
&

13 12 13 12 13 13 15 12 13 13 12 13 13 13 14
14 12 12 13 14 14 14 12 12 12 13 14 15 14 12
15 15 14 12 14 16 15 15 14 14 12 14 14 15 14

n b C E7 A C7 F A7 D F7 B D7
b # b # b
& #

15 13 11 1 3 1 1 1 2 3 4 3 3
14 14 10 0 1 2 3 2 0 2 2 4 5
15 13 12 2 2 2 2 3 2 3 3 3 4

29:28

G B7 E G7 C GC A F D B G E C
n w
& ## w
w
3 4 5 6 5 1 1 1 3 3 3 5 5
4 2 4 4 5 0 2 2 2 4 4 4 5
5 4 5 5 5 2 2 3 3 3 5 5 5
and continue
4
A F D B G E C A
F D
B
G E
C

&

5 6 6 6 8 8 8 10 10 10 12 12 12 13
5 5 7 7 7 9 9 9 10 10 10 12 12 12
7 7 7 9 9 9 10 10 10 12 12 12 14 14

H
b
& # b #

42:42

&