There are four locations for a diminished 7th chord within the Harmonic Minor and Harmonic Major Scales.
If you treat the diminished 7th as a rootless 7b9 chord then you have four possibilities for modulation.
E.g., In C Harmonic Minor you have D, F, Ab and B diminished 7th chords.
Look at Bº7 as a rootless G7b9 which resolves to C minor.
The Dº7 can be seen as a rootless Bb7b9 offering the possibility to modulate to Eb major, (the relative major of C min), or Eb min.
The Fº7 can be seen as a rootless Db7b9, which can take you to Gb maj or min, and the Ab˚7 could be a rootless E7b9 which would take you to A min or maj.
You’ll see that each of these tonal centres are spaced in minor thirds, too: C A Gb Eb
There’s a lot of great nuggets here. But I tend to get stuck in the weeds. I was thinking it’d be cool to have some higher level applied lessons – say composing a cohesive solo for a few choruses over common standards. Consider phrasing and theme/development using motifs and maybe even throwing in a few licks.
Thanks, Steven. Will do something on that soon :)
M
thanks mike for doing this again the last series you done really helped me alot , refering to last post could you plz do a series on all the things you can do on all the things you are lol as im still trying to get to grips with this tune , thanks again for sharing your wisdom , best steven :)