The same five progressions — now transposed into B minor and its relative major D, so they slot straight into Renegade and your whole Bm practice library.
Nothing about the approach changes — drop the root, keep the 3rd and 7th, colour with 9 · 11 · 13, voice it on the top strings. All that's moved is the home base: everything now lives in B minor and its relative major, D major (identical key signature — two sharps). That means every chord here is diatonic to Renegade and shares notes with your bend masterclass, sequences and Landau files.
One thing worth knowing: these voicings climb the neck. Several sit up at the 7th–9th fret, so the diagrams below show a position marker (e.g. "7fr") instead of always starting at the nut. The dot pattern is what matters — slide it to the labelled fret.
Same movable rootless shapes as before — just landed in the B minor world. Learn these and you can comp through Renegade and most fusion tunes by sliding them around.
A Rhodes-and-bass rendering of every progression on this page, each played twice with a bar of silence between sets. The bass supplies the roots you've dropped from the voicings — comp the rootless top-string shapes against it and the full harmony locks together. Same key as Renegade, so it stacks with your whole Bm library.
Load it in any DAW or MIDI player and loop it. If your player ignores patch changes, set track 1 to an electric piano and track 2 to a bass. Mute the chord track to comp along; mute the bass to practise the shapes solo.