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I was reading up on modulation to distantly-related keys. Fully-diminished chord is used for modulation to chromatic keys, because the root is changeable. And then I encountered this picture. If the …

Is there a fast way of discerning inversion chords and spotting the root on the fly? Or is it that years of stacking up the notes makes the same process fast? …

In a chord progression G(add9)/C - E7/A - C-7/F - FMaj7/G. The author says E-7/A functions as VI-7. Slash chord does not have 3, then how does one know it is not dominant 7 but minor 7? Is it context …

In the little piece below, E7 can either by five chord of Major or harmonic minor. Is it identified as Major chord or harmonic minor chord? Or maybe it does not really matter?

I am trying to play lead sheets and I am not sure how to play the chords on the left hand. At first, I pressed the keys all at the same time once, and now I am trying to arpeggiate the chords. …

Three ways are available when approaching II-7 via bIII. bIIIMaj7, subV/II, bIII full dim. I blindly thought that Ionian scale is used for solo over bIIIMaj7, but apparently Lydian is used. Can anybo …

I am trying to play the half/fully diminished chords on the piano but it is very difficult, especially so for Bb, Eb, Ab, Db, Gb. Is there a tip on how to play those chords? …

I encountered this example 31-17 in a book that I am reading, and the author says that the Neapolitan chord follows the "falling fifth pattern". I guess that would be the case if the Neapolitan chord …

While reading up on four-way close voicing (part of Evan Rogers' Big Band Arranging series), I have encountered something I cannot quite understand, so maybe there is a typo in the article? The pictur …

While I was reading about commonalities between French A6 and tritone substitute, I kept bumping into the similarities between French A6 and V7b5/b5. French A6 is ^b6 ^1 ^2 ^#4 and V7b5/b5 is ^5 ^7 ^ …

Do I see them as implied chords(wholly different passing chords), or do I see them in relation to Cmaj7(i.e C is 1, F is 4, and so on...)? …

Even if a rootless chord is common in five-part solis voicing, ordinary chords with roots are also present.(2nd chord in m.1 has a root, 2nd chord in m.2 has no root) How can you differentiate chords with …

When playing solo over a chord, a scale should be chosen. When a musician choose a certain scale, what is the rationale behind? I can come up with a few points but only poorly. such scale has tension …

Over the course of reading this book(the excerpt is an exercise from the book), I have always expected accidental notes to mean something like modulation and applied chords. … How would you label these cadence chords? …

The excerpt is in C# minor. C# is present in what is apparently a dominant seventh chord in m.14. How should I interpret presence of tonic in the dominant chord? Is that what's called a pedal tone? ( …