Diminished perspectives 3 Auxiliary Dim used in rhythm context..

So does this get easier? My friend CKM casually laid out the solution for making sense of Auxiliary Diminished and I quote:

"The whole auxiliary diminished thing makes more sense when rhythm is involved. Like one common pattern in that song is:

C7 Cdim C7 rest | bang! -- bang! ...if you know what I mean.

And there's also ....C9 + 2 + 3 + 4 B9 | C9 2 3 4 (with the B9 on the and of 4, in case my quasi-notation is not crystal clear)

Which I didn't interpret as an auxiliary dominant the first time round. They are both kicks kind of."

Thank you CKM !!

So Auxiliary Dim tends to create a rhythmic play of tension and release—release (at rest) on to beat one maybe or to any downbeat.

The diminished chords with extensions as "slash/chords are derived mostly with the symmetrical diminished whole/half scale in mind. They are primarily auxiliary in function. The lower "denominator" of these slash chords are usually a diminished chord on the root of the next change except where there are voicing considerations and inversions of the auxiliary diminished are used. The "numerater" part of the slash chord will be a chord or chord voicing which will carry the melody and are also derived from the whole/half scale. For example in the 4th full bar on beat 4 (Emi7/Ddim7), both of the chords found in this slash/chord are derived from the same whole half symmetrical scale. The D diminished chord in this case, is an inversion of Ab diminished 7 which is on the same root as the chord that follows, i.e.
Abdim7—Abmi7. I'll write this out in a piano score in the next blog.