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I have seen/ heard people say that you only write a 6 when there are no other upper extensions used (meaning no inclusion of 7 and above). I have also heard people say that you only write a 6 when t …

Or, creating chords that primarily work as V chords in normal keys, even though they are not the V chord of the melodic minor key. (eg lydian dom, altered, dorian flat 2). … So, for example, do lydian dominant chords ever function as IV chords? Do dorian flat 2 chords ever function as ii chords? …

I have come across three different interpretations of the middle section, all of which involve interpolated chords. So, my question is, why these chords? How/ why do they work? … So, with interpolated chords, is it a case of being able to roughly do as you please because soon the resolution will come? Or is there a certain method behind these delayed resolutions? …

In light of some recent answers to questions I have asked on Stack Exchange with regards to naming chords, I have decided to refine things a little further, focusing on sus chords. … However, I see examples of chords that contain the 7th and 4th, which have no intention of having their fourth note resolve down to the third, but are still considered sus chords. …

I have recently been exploring chords in the Locrian mode. Down to the flattened 5th and 9th degrees, I have come up with some pretty bizarre sus chords. … This got me thinking: Are such chords still recognised as sus chords, in spite of their altered degrees? A couple of examples: F sharp, G, C- Can this be described as an F sharp sus flat 2 flat 5? …

I have recently started adding augmented 6th chords to my part writing. As far as I can tell, I have not broken any harmonic rules in the displayed voicing, yet it does not sound right to me. … Is there anything specific I need to know about how to voice these chords? I know that typically German 6ths resolve to I64, but that is just to avoid consecutive 5ths. …

I have recently become confused about how to name chords in jazz. … When learning about slash chords, I have seen certain (incomplete) chords referred to as 'sounds'. …

(I have made a mistake in the figure. the VI chords are 6 3 chords, and not 4 3 7th chords as figured here!) …

When I play this as all 7th chords (FM7, Fsharpdim7, G7) it sounds great, but here my first chord is an FM triad, so we move from F (doubled root) to Eflat (dim7th) then to F (7th of G7). … Is there anything else I should know about voicing these passing dim7th chords? …

Writing a four part piece for strings at a very slow tempo (55 bpm). On paper, it seems as though the non-chord notes I have selected should work, but I am finding some of them jarring. I am unsure if …

So, is it simply the case that chords have the same gravitational pull to each other regardless of tonal centre, and we just translate the same chordal relationships from the perspective of a different …