Quick, let's do it again while it's still fresh in your mind; but let's start with the idea of just borrowing notes first, and we'll analyze afterwards. Begin with our good old Ddim7 from the Keyboard Chord Decoder No.1, and take one of the notes from the "chord below" to associate us with a dominant chord from the family of related dominant seventh chords and to give us a root in the bass, Bb. Put the root position Ddim7 above the bass note, then drop the second note from the top down an octave, to get a Drop 2 voicing, which reads from top to bottom: B, F, D, and Ab. We could stop here and be very happy with this voicing. But we want to be adventurous! How? Simple. Starting from that top note B, borrow from the "chord above," which gives you a C on top, as you see in the example. Then move the C back to the original B, and then borrow from the "chord below" to get a Bb. Then resolve to the Ebmaj9. Nicely done, and rather easy, don't you think? You basically just moved one of the notes of your Ddim7 up and down, yet you created this nice moving line. You could even play a single chord using one of your moving notes with the rest of the notes in the voicing, and forget about the motion. Let's talk about what you've done. By borrowing that C on the first beat, you created a Dm7b5over Bb, from the family of II chords in the "chord above;" this works because it's related to the G7 that is one of the four dominant chords lurking in the "chord below." Lowering the C to the B puts you back with your friend the Ddim7 above the B~. Borrowing the B~ from the chord below yields a Bb7 over Bb, which really makes it easy to resolve to the Ebmaj9. And all this because chords from these related families can be mixed and matched freely. A Dm7b5, Dm7, and Bb7, all over a Bb? I'd say you mixed and matched freely, all right; and you sounded good doing it .