Transforming Chords by Diatonically Transposing Up a Third

One of the easiest ways to transform and substitute chords is to transpose them diatonically up a third. For example, the Dm7 chord in the first row, left column, is easily transformed into a Dm9 chord simply by moving all of the notes up a 3rd within the key (C major in this case). This process removes the root and creates a ninth.

In the second row, first column, a G7 chord is transformed easily into a G13 (including a ninth) chord by moving all of the notes up a third within the key (C major), plus the top note is moved up an additional second (again within the key of C major) to create the thirteenth. (This also removes the fifth by substituting the thirteenth.)

The third row works similarly to the first row. The transposition up a third removes the root and creates a ninth.

Finally, in the fourth row, a root position C6 is transposed up a third within the key to create a first inversion C6 chord.

Once the pattern of ii9, V13, Imaj9, I6 (1st inversion) is understood and memorized, it can be transposed to any major key to quickly perform the transformation/substitution.

These transformed voicings sound "jazzy" and do not lack for sonority even thouth the root is ommitted in all cases. These voicings also work in a stride piano style where the left hand can play the root before the chord. An additional plus is that a bass player can be added to the mix, who can play the root that has been ommitted.

*Chords symbolized without regard to bass notes.

Analysis of Note Movement

Here is an analysis of the note movement from Dm9 to G13 and Cmaj9 to C6. This is offered in the hope that you can see the pattern that persists when transposing chord sequence into other major keys.

Backing Track Video for Practice