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The Dm7 chord

The most common ii chord in jazz, and the resolving chord in the famous Dm7 to G7 to Cmaj7 turnaround. The Dm7 (D - F - A - C) is a minor seventh, which is why it sounds the neo-soul minor. Writers pick it for a Steely Dan-style verse, and you can find it across modern R&B and cocktail jazz. On guitar the chord sits in barre-chord territory for most useful keys; on piano it stacks straight up under the right hand. The page below covers the voicings worth memorising, the theory, the progressions where the Dm7 earns its keep, and the records that lean on it.

Hear the Dm7 in the chord builder →

Voicings for Dm7

Common ways to grip the Dm7 on guitar and piano. Guitar diagrams read low E to high E left-to-right; an × means muted, an open circle above the nut means an open string. Filled dots are fretted notes.

Guitar , full chord shapes

CAGED-derived voicings for Dm7 across the neck. Pick the shape closest to where your hand already sits.

Guitar: Em7 shape at fr.10
Notes: D - F - A - C (chord tones)
Guitar: Am7 shape at fr.5
Notes: D - F - A - C (chord tones)
Guitar: Dm7 shape
Notes: D - F - A - C (chord tones)
Guitar: high top-4 voicing
Notes: D - F - A - C (chord tones)

Guitar , triad shapes

Three-note voicings on three adjacent strings. Light textures for arpeggios, pop layering and chord-melody work.

Triad: top-string triad
Notes: 3-note voicing on adjacent strings
Triad: middle-string triad
Notes: 3-note voicing on adjacent strings
Triad: bass-side triad
Notes: 3-note voicing on adjacent strings

Piano voicings

Root position and inversions. The bass note matters: each inversion changes how the chord sits under a melody.

Piano: root position
Notes: D - F - A - C. Root D at the bottom. The classic stacked-thirds spelling of a minor seventh.
Piano: first inversion
Notes: F - A - C - D. F at the bottom. Common in chord-melody, walking bass lines and gentler voicings.
Piano: second inversion
Notes: A - C - D - F. A at the bottom. A floating, suspended feel often used in hymns and ballads.
Piano: third inversion
Notes: C - D - F - A. C at the bottom. The seventh in the bass , a smooth jazz favourite.

The theory behind Dm7

Dm7 is a minor seventh built on D. Its three or four notes (D - F - A - C) sit a specific distance apart: root, minor third, perfect fifth, minor seventh. That makes it a passing chord in the key of a closely related major key, and the same chord works as the passing chord in a closely related major key. The simplest rule of thumb: the Dm7 wants to walk into a dominant seventh a fifth above.

Progressions that use Dm7

Short progressions that put the Dm7 to work. Each one is shown in a different key so you can pick the one that suits your singer.

iivV key of A minor
Dm7 (as passing colour)

This chord appears as a borrowed or passing chord in many minor-key progressions.

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Songs that feature Dm7

Real records where this chord does structural work. No lyrics quoted, just the title and artist so you can pull up a copy and hear it in context.

Related chords

Chords a step away from the Dm7 in the songwriting circle, the natural neighbours when you want a substitution.

Keys where Dm7 lives

The keys where this chord turns up diatonically. Open any key page for the full set of progressions that lean on it.

More songwriting tools

Got the chord but still wrestling with the lyric? Find the right rhyme in RhymeForge, or break a writer's block with the unexpected word-pair generator in CollisionLab. Need to map a full progression? The chord builder on the home page is where the Dm7 fits into context. All free, no signup.

About the chord builder

The Undercover Zest chord progression builder is a free interactive tool that maps every diatonic and borrowed chord in every key. Click a Roman numeral to hear it, drag chords into a progression, then audition voicings, inversions and tensions until the song clicks.

This page is a static reference for the Dm7. For interactive playback, voice-leading hints and substitution suggestions, open the chord builder above.