Indeed. This is a huge component in jazz harmonies. Take a C7 chord, for example. In the L.H., play a chord C-Bb-E covering a tenth. Play the L.H. chord for all permutations.
Then in the R.H. first play middle C-G-E (regular dominant) then Eb-G-Bb (C7 with a sharp nine) then F#-A#-C# (C7 with a sharp eleven and flat nine) then A-C#-E (C7 with a flat nine and an added thirteenth).
Now keep the R.H. stagnant and move the L.H. around by minor thirds.
On top of all this one can create melodic material using a C# (or E or G or Bb) diminished scale, cadencing at any time down a fifth or half step or up a half step from the L.H. root to a major or minor (or another dominant! --then the process can repeat itself).
Clark
Then in the R.H. first play middle C-G-E (regular dominant) then Eb-G-Bb (C7 with a sharp nine) then F#-A#-C# (C7 with a sharp eleven and flat nine) then A-C#-E (C7 with a flat nine and an added thirteenth).
Now keep the R.H. stagnant and move the L.H. around by minor thirds.
On top of all this one can create melodic material using a C# (or E or G or Bb) diminished scale, cadencing at any time down a fifth or half step or up a half step from the L.H. root to a major or minor (or another dominant! --then the process can repeat itself).
Clark