The Dm7 chord (short for D minor 7) is one of the most useful voicings in jazz guitar. In this lesson, we’ll cover a versatile Dm7 guitar shape that works on the top four strings — perfect for comping or solo guitar.
You’ll also learn how to voice-lead it into a full ii–V–I progression, how to build a melodic Dorian scale cell around it, and how to turn all of this into music with a short lick.
Let’s break it down.
A Moveable Dm7 Chord Shape (Root on 2nd String)
This Dm7 chord voicing lives on strings 4–3–2–1 and is built from the following chord tones:
- 4th string: ♭3 (F)
- 3rd string: ♭7 (C)
- 2nd string: Root (D)
- 1st string: 5th (A)
This voicing is technically a drop 2 chord, but you don’t need to know that to use it.
Just treat it as a minor 7 chord with the root on the 2nd string. That makes it easy to move around the neck — just find your root note on string 2.
Where it works:
- Dm7, Dm9, Dm11 — no problem
- Don’t use it for Dm7♭5 (you’d need to lower the 5th for that)
How to Play the Dm7 Chord
Here’s a simple fingering to try:
- Index finger: Barre across strings 4 to 2
- Ring finger: 3rd string (♭7)
- Pinky: 1st string (5th)
If you want to play Dm7 in a higher register or use it in melodic comping, this voicing is an excellent addition to your toolkit.
Voice Leading Up the Neck: Dm7 to G7♯5♯9 to Cmaj7
Try this progression to hear the Dm7 in context:
- Dm7 (root on 2nd string)
- G7♯5♯9 (altered dominant)
- Cmaj7 (with root on 3rd string, 7th on top)
What’s special about this ii–V–I? The top note moves up chromatically in each chord — it climbs by one fret each time. This kind of motion creates smooth, elegant transitions between chords and helps your comping sound intentional.
Dorian Scale Cell Built Around the Dm7 Chord
Instead of practicing full scale shapes, try this D Dorian scale fragment that sits on the top three strings:
- 3rd string: 5 – 7
- 1st string: 5 – 7
- 2nd string: 6 – 8
It gives you all the essential notes of D Dorian, and the root (D) acts like the center of the pattern. You can orbit around it to create melodic movement without leaving this position.
This is a great way to get musical with your scales without memorizing long shapes.
A Sample Jazz Lick Using the Dorian Cell
Here’s a short lick that starts with the Dorian cell, then outlines the full ii–V–I:
- Over Dm7: Run up and down the Dorian cell
- Over G7♯5♯9: Highlight alterations like ♯9 and ♯5
- Over Cmaj7: Use voice-led motion to resolve with a short melodic phrase
This line helps you connect your chord shapes and scale tones into real music — no dry theory, just sound.
Dorian Starts Here
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My 5 Essential Major Scale Shapes ebook shows you the foundation most players skip… and why everything else starts to make sense when you get this right.
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Final Thoughts
The Dm7 chord is more than just a shape — it’s a doorway into voice leading, modal improvisation, and real jazz guitar phrasing. By mastering this one voicing, you’ll also learn how to:
- Track root notes on the 2nd string
- Voice-lead smoothly in ii–V–I progressions
- Build short melodic ideas from scale cells
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