You’ve Been Treating Minor 2-5-1 Wrong (They’re the Same Engine)

Minor and major ii-V are the same engine — one chromatic voice moving inside the cadence. You can hear it already written into the melody of Fly Me to the Moon, no theory needed. If you’ve been treating minor II–V–I like a separate chapter (new scales, new rules), this episode will change your ear. This video is part of the series: “Why Your Jazz Guitar Doesn’t Sound Like Music” ▶ Start from the first video in this playlist:    • Why Your Jazz Guitar Doesn’t Sound Like Music   In the first 8 bars of Fly Me To The Moon, the major II–V and the minor II–V are the same engine—if you hear it from diminished. And the melody already proves it. In this video, I show: • How the melody reveals D minor sitting on top of Bm7b5 (upper-structure hearing) • How a half-step shift turns that into diminished, inside the melody itself • How a diminished triad expands into diminished7, and why the same shape repeats with the same function Start here (free foundation): http://voicelidjazzguitar.com/buildin... Deep dive (Wes’ Insight): https://www.voicelidjazzguitar.com/ja... #jazzguitar #jazzguitarlesson #learnjazzguitar #iivi #minoriiV Chapters 00:00 Continuation: half-step cadence → diminished option 01:00 What to listen for: first 8 bars, same engine 02:00 Intro: outsider narrative + “hear the pull” 03:00 World history plot frame → today’s plot is diminished 04:00 Why minor II–V feels confusing (too many options) 05:00 Melody-first: start from the minor II–V–I in the tune 06:00 Bm7b5–E7–Am: voicing and melody position 07:00 D minor visible in the melody over Bm7b5 08:00 Half-step motion → D diminished inside the melody 09:00 From D minor/G7/C major idea → F major / F diminished mention 10:00 Turn diminished triad into diminished7 (what note is missing) 11:00 Same diminished7 shape = same notes, same function 13:00 Resolution logic: diminished wants to go to A minor; A minor can function as C major tonic 14:00 Summary: the same cadence twice in the first 8 bars