Triad Transformation over 7th chords with graphic

Here's a further description with music graphics to illustrate the uses of triad transformation as the upper portion of slash chords. It sounds good to have one note move in a chord for a pleasing and sometimes startling effect in 7th chord quality. It's just that something so simple can be so motivational.

The examples used are basic to C major. 

The transforms of Cma7, using R. and L. only (see previous 2 blogs for definitions),  depart from a C triad in bar 1. Bar 2 departs from a G triad/C.

The transforms of Dmi7 (bar 3), using R. and L. only (see previous 2 blogs for definitions) depart from F/Dmi7, then Ami/Dmi7, and in bar 4 transforms depart from C/Dmi7 and then Emi/Dmi7.

The transforms of G7 use R. L. and P.  The transforms depart from G/G7 using R. and P. only. 

Bar 6 transforms of G7 depart from Dmi/G7 to create various extension colors, for example:

Dmi/G7 = G9 and that transforms to:

Bb/G7 = G7(#9) back to Dmi/G7 which transforms to: 

F/G7 = G9sus4 (leave out the third).

Continuing in bar 6, Bb/G7 = G7(#9) transforms to Gmi/G7 which also = G7(#9)

coming back to the Bb/G7 which transforms to Dmi/G7 (G9).

Continuing in bar 6 the Bb/G7 then transforms into Bbmi/G7 (using P.) creating G7(#9#11).

Bar 7 features G7 harmony transforms that depart from Db/G7 (G7(b9#11) to Bbmi/G7 (G7[#9#11]) (note the typo)  and back to Db/G7 which transforms to Dbmi/G7 (using P) = G13(b9#11).

The second half of bar 7 transforms from E/G7 (G13[b9]) to a C#mi/G7 (using R.) = G13(b9#11) and then back to E/G7 which then transforms to: Abmi/G7 (using L.) = G7(b9b13).

Back to E/G7 which transforms to Emi/G7 (using P) = G13.