Transpose chord progressions

The method

Transposition changes pitch level without changing a progression's interval pattern. Clef reads each root, moves it by the selected number of semitones, and reattaches the original quality. A minor chord remains minor; a seventh remains a seventh. Enharmonic spelling depends on key context, so the displayed name is a practical reading choice rather than the only possible spelling.

Two worked examples

1. C–Am–F–G moved up two semitones becomes D–Bm–G–A. C moves to D, A to B, F to G, and G to A. The minor marker on Am remains.
2. Cmaj7–C/E–Dm7 moved up two semitones becomes Dmaj7–D/F♯–Em7. The slash note is transposed separately from the chord root, so E rises to F♯.

How to check the result

Compare the distance between successive roots before and after transposition. Then inspect every quality marker and slash bass. Finally, play the original and new progressions from their different starting notes. They should share a harmonic shape even though their absolute pitches differ. If the destination key strongly favours flats or sharps, revise an awkward enharmonic spelling.

Limits

A chord-symbol transposer does not rewrite melody notes, select playable voicings, or decide whether a key suits a singer. Ambiguous text may need correction, and unusual alterations may require manual checking. Treat the output as a compact harmonic draft, then inspect spelling, range, melody, and instrumental comfort in context.