Passing Chords

[seemunny]

^^
Indeed! indeed!
Great stuff C$$
I remember that post of yaz--we need to dig it & add the link here--but you've summarized the stuff really nicely here
Another great thing about the dominant chord is that it's not so "tense/ deep" as the fully diminished.


I am going to try all these suggestions..
Well fam, keep the ideas flowing

Exactly @ "not so tense/deep". There are so many options when using dominant and/or suspended chords, that once you finally realize this, your use of the diminished will start to get a little lonely! lol Because, you have so many more additional colors to paint with (so to speak).

And it seems to me with all of this "chord study", the main goal is to have "expert chord control". Meaning: you want to get to the point where you can make the chords do ANYTHING you want them to do, or strike up any mood that you want to strike "AT WILL".

And part of mastering that is, understanding "inversions & voicings" to the point where you can make the "lead note" sing in any way you want! Jonathan Powell (at Jermaine Grigg's "Hear and Play") said a few fleeting words on that, that just open up the floodgates to my thinking!

Notice on Jonathan's Urban Pro 600, how he stresses knowing all your "inversions", because he says the inversions will make it seem like you know a bunch of other chords, when in fact, it's the same chord, only it's "inverted". And with that knowledge, you can make your chords "sing" because the LEAD NOTE keeps changing with each inversion. THAT'S when you really begin to master & personalize your chords!

Good luck with your experimenting with the above ideas!

[seemunny]

And check this out, while typing this post out just now, and thinking about it after reading what you two just touched on above, it looks like if you're going to the 1, then you're able to successfully use:

1) any dominant off the 5 (which would obviously keep it a dominant chord)
2) any dominant off the b2(#1) (which is a tritone substitution, and which would also keep it a dominant chord)
3) any b5 major off the 4 (which would make it a dominant chord)
4) any major off the 4 (which would make it a suspended chord)

...all going to & "connecting" you to the 1.

Also, i think:

5) any #5 or augmented chord off the 4 (which would give you a b5 dominant chord)

...and i'm sure there's more where that came from if you look into it.

[seemunny]

Also, i think:

5) any #5 or augmented chord off the 4 (which would give you a b5 dominant chord)

...and i'm sure there's more where that came from if you look into it.

6) or any m7 off the 2 (which would give you a suspended chord)

...and again, i'm sure there's even more where that came from.