in many turnarounds, the second chord is a diminished 7th.

you can use that as a pivot chord to effect a modulation to virtually any other key (major or minor). it works like magic.

a typical turnaround consists of 4 chords spread over 2 bars:

bar 1 - beats 1 & 2: the tonic chord

bar 1 - beats 3 & 4: some diminished 7th chord

bar 2 - beats 1 & 2: the ii of the tonality you are gravitating towards

bar 2 - beats 3 & 4: the v7 of the tonality  you are gravitating towards

example 1:

c minor returning to c minor

| cm c#dim7 | d7 g7#5 |

example 2:

c minor modulating to gb minor:

| cm c#dim7 | ab7 db7#5 |

i just picked gb minor because it's about as far away from c  minor as you can get.

also it's possible to use a cdim7 or a bdim7 for the second chord, it's amazing how many permutations of this you can get away with and still have a completely smooth transition.

the reason you can use virtually any  of the three diminished 7th chords as the pivot is because it is used as a tension passing chord that immediately resolves.

fool around with this until you get a combination that pleases your ear. some combinations will be more pleasant than  others depending on what your target tonality is.

another type of chord that can be used succesfully for the second "pivot chord" is some kind of vi of the target tonality (if you get my drift).
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