Theory
Yesterday you saw the ii–V–I concept. Today you actually connect Dm7 (5th) → G7 (6th) → Cmaj7 (5th) in one fret region (frets 3–7) with minimal hand movement. Focus on two things.
① Root-string crossing. Dm7's root is on the 5th string, G7's on the 6th, Cmaj7's back on the 5th. Alternating 6th/5th-string chords like this keeps your hand off the neck-running.
② Guide tones move a half step. Yesterday on the 3rd string, 7th→3rd→7th barely moved (5→4→4). Today, see another guide-tone line. On the 2nd string, Dm7's 3rd (F) → G7's 7th (F) → Cmaj7's 3rd (E): frets 6→6→5. F stays, then drops a half step to E. Two guide-tone lines (3rd & 2nd strings) sliding almost in place at once — that's the reality of voice leading. Isn't that something? Three whole chords change, yet the notes singing on top stay nearly glued in place. Get this feel into your hands and any progression turns smooth.
See it
The middle chord, G7 (V, 6th-string root) — the bridge connecting the ii and the I. Green = guide tones (3rd & 7th).
Example 1 — the second guide-tone line (2nd string). Dm7's 3rd (F) → G7's 7th (F) → Cmaj7's 3rd (E). 2nd string 6→6→5. F stays, then only a half step to E at the end.
▶ BPM 66. 2nd string 6→6→5. The common tone F stays across Dm7 and G7, then a half step to E on the I. "Barely moves," once more. Repeat 4×.
Example 2 — root + guide-tone comp. In each chord, fret the root then the guide tone. The root travels 5·6·5, but feel with your hand that the guide tone (3rd string) stays nearly in place at 5→4→4.
▶ BPM 74. Alternate the root (5·6·5) and the 3rd-string guide tone (5·4·4). Confirm the guide tone barely moves and repeat 4×. Then strum the whole chords.
Today's practice
0–10 min · Warm-up Play Dm7 → G7 → Cmaj7 in order in one region. Say the root string (5·6·5) aloud each time.
10–20 min · Brain training (today's target = the two guide-tone lines) Fret both Example 1 (2nd string 6→6→5) and yesterday's 3rd string (5→4→4). Watch both lines slide almost in place at once.
20–40 min · Real comping (Example 2 / 70–80 BPM) Repeat Example 2 at BPM 74 4×. Feel with your hand that the root travels but the guide tone stays close. Then comp the three whole chords smoothly connected. If your hand leaves the region, it's a fail.
40–50 min · Record & reflect (recommended) Record 30 seconds of ii–V–I. Check: is hand jump minimal at the changes, and do the guide tones connect smoothly?
Done when: you can connect Dm7-G7-Cmaj7 in one fret 3–7 region with no hand jump, and fret both guide-tone lines.
- Chasing only the root. The root actually moves a lot (5·6·5). What ties your hand is the guide tones. Put your eyes on the barely-moving 3rd- and 2nd-string notes.
- Leaving the region. Dm7 at fret 5, G7 at fret 3 dips slightly, but that's all. A big neck jump means you chose the wrong root string.
- Sound breaking at the change. Moving one finger at a time, minimally, keeps the sound connected. Don't lift the whole hand.
- 6th mute (5th-string chords). Always kill the 6th on Dm7/Cmaj7.