Moving to another key — ii–V–I is a pattern that slides whole

Through yesterday you connected the C-key ii–V–I (Dm7-G7-Cmaj7) in one region. Today's point is thrilling: slide that hand shape whole, a few frets, and it becomes another key's ii–V–I.

Push C up a whole step (two frets) and you get D key:

• Em7 (ii) — 5th-string root, fret 7. (C's Dm7, two frets up)
• A7 (V) — 6th-string root, fret 5. (C's G7, two frets up)
• Dmaj7 (I) — 5th-string root, fret 5. (C's Cmaj7, two frets up)

Not one finger shape changes. The root-string crossing (5·6·5) and the half-step guide-tone motion are identical. Because you learned a "pattern," not a memorized shape, you can slide it to any of the 12 keys. That's the privilege of learning chords by interval. In other words, no need to memorize 12 keys separately — nail this one pattern today and the rest of the keys come nearly free.

The three D-key ii–V–I chords. Only shifted two frets up from C — the layout and the green (guide-tone) positions are exactly the same relationship.

Example 1 — D-key guide-tone line. On the 3rd string, Em7's 7th (D) → A7's 3rd (C#) → Dmaj7's 7th (C#). Frets 7→6→6. The exact same shape as C's 5→4→4, just shifted two frets up.

▶ BPM 66. 3rd string 7→6→6. Exactly the same motion as C, two frets up. Feel "the pattern moves." Repeat 4×.

Example 2 — D-key ii–V–I comp. Roots travel 5·6·5 (frets 7·5·5); strum the three chords. The hand shape is identical to C.

▶ BPM 74. In D too, the hand is tied to one region (frets 5–9). The same feel you learned in C. Repeat 4×.

0–10 min · Warm-up Play Em7 → A7 → Dmaj7 in order. Check the sound while feeling the hand shape is identical to C.

10–20 min · Brain training (today's target = pattern shifting) Alternate grabbing the C-key ii–V–I (fret-3 region) and the D-key (fret-5 region). One hand shape, position two frets apart. You pass when you can switch between the two keys with eyes closed.

20–40 min · Real comping (Example 2 / 70–80 BPM) Repeat Example 2 (D key) at BPM 74 4×. Then cycle back and forth between C and D to burn in "same pattern, different spot." Push to F (fret 1) or G (three frets up) if you like.

40–50 min · Record & reflect (recommended) Record 15 seconds each of the C and D ii–V–I. Check: is the hand-movement feel identical in both keys, and are the changes smooth?

Done when: you can slide the C-key hand shape two frets up to cycle the D-key ii–V–I, and you understand "the pattern is movable."

• Trying to re-memorize per key. ii–V–I is one hand shape. Put the root at the fret you want and it's that key's ii–V–I. No need to memorize 12 keys separately.
• Weak mute in high frets. Frets 5–9 have tight spacing, so fingers crowd. Mind the 6th-string mute (5th-string chords) even more.
• Mistaking the root position. The V (A7) is a 6th-string root; the ii and I are 5th-string roots. Confuse the root string and the spot shifts wrong.
• Speed greed. Even if the new region feels awkward, stay accurate at 66–74. Speed comes on its own once it's comfortable.