11.3The guide-tone skeleton

Reduce each chord to 3rd and 7th.

Dm7

3rd = F 7th = C

G7

3rd = B 7th = F

Cmaj7

3rd = E 7th = B

Now choose voicings:

Dm7: F–C

G7: F–B

Cmaj7: E–B

Look at what moves:

C → B

F stays

then:

F → E

B stays

This is almost ridiculously efficient.

Play only those two-note shapes.

You are hearing the essence of ii–V–I.