i am playing "someday my prince will come" and there is a c#dim7. i play a c# in the bass and instead of c# e g a# with the right hand, i play c# e g c and it sounds really good. what chord am i now playing? i want to write it in, but i'm drawing a blank as to exactly what chord that is. thanks in advance.
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i would still label it a c# dim7
you can move any chord tone in a diminsihed chord up a whole step for a more bitting, more modern sound (it's still in the diminished scale).  

your chord also resembles a rootless a7#9 voicing...
you altered your c# dim7, that's all
jazz+ - cool, thanks! i've wondered this for a while -- that is, what can you do with a dim chord.  guess i should have asked randy but i figured we hadn't gotten there yet.  although i'll listen, should you try to limit the number of tones that you move "out of the chord?"
exactly what jazz+ said... the reason that this works is, in someday my prince will come, the chord that c#dim7 is leading to is a dm7. back in the old days, dimished chords were common because they provided a chromatic bass motion.  

but check this out...what chord would naturally lead to dm7? a7! so by raising that bb to a c, you're actually changing the diminished chord to an a7#9 with c# in the bass... see how that works out and still sounds good?. what you're doing also leads to dm7, but by way of a dominant chord instead of a diminished chord.

sdm, i usually alter every diminished chord i play because the soudn of a diminished chord is usually to consonant compared to the altered dominants that i usually play surrounding it...it doesn't blend. i alter them to taste, but usually only alter one note of a diminished chord so it is still recognizable. sometimes more...use your ears.
thanks much hep...i must be ready for this - it makes perfect sense and answers a nagging question.  as you say, while the dim is pretty it is a little too pretty sometimes.  to the keyboard...
ok, back on this dim chord deal.  trying to use my ears i find i like some forms with a tone moved up a step and others not so much.  does the alteration (choice of tone to move) depend on the underlying tonality or, as hepcatmonk says, on the chord that follows?  i have some more work to do of course but you guys are always a great shortcut.  i guess if the raised tone is always the #9 then the resulting chord is always the dom chord of a half tone below the tone that was changed.

starting with c dim: c eb gb a
1.  c eb gb b = ab7#9 w/3 in bass
2.  c eb ab a = f7#9 w/5 in bass
3.  c f gb a = e7#9 w/7 in bass
4.  d eb gb bbb (a) = cb7#9 w/#9 in bass (c## d# f# a = b7#9)

is that right?
you can look at it that way. but theire are no absolutes because it's all pretty much interchangeable (diminished chords and #9 or b9 dominant chords). thus the chord that follows and the chord it's coming from is how i decide what to label it.
the block chord method (as shown by levine) relies heavily on using "tweaked" dimished chords.
in "drop 2" block chords it's either the alto or the tenor voice of a diminished chord that gets raised a whole step. either way it's still a v function.
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