Fear not, I'm not about to ask what chords are in the key of D or anything like that Feel free to direct me to an FAQ if there is one that explains what I'm looking for. I had a read and didn't see anything, but then I could have missed it...

So, I'm more interested in all the random chords that don't fit into any key chart I've ever seen.

Sticking with the D theme, chords like Dsus4, D major 6th and D dominant 7th: how do they fit into the grand scheme of things? Apart from trying it and finding out it sounds good, is there any way to predict when using such a chord would be appropriate in a progression?

Edit: D Major 6th is what I meant. Thanks for pointing that out
Last edited by Troutzilla at Jul 11, 2009,
Ahh, this is what I'm trying to learn as well

I imagine voiceleading is the most important factor, whereby knowing the notes in the chord, and how they relate to a chord you just played, is useful.

However, that's something that I keep thinking about and wondering whether I'm on the right lines or not!
Quote by strat0blaster

Well played, my friend.

I'm going to edit that awful grammar right now

Yay, I'm sigged!!
And a grammar nazi..
Dominant chords (regardless of the extension used) usually find themselves on the fifth degree as V chords.

Altered dominant can also be built off the fifth degree, although it's also common to see them used as passing chords.

maj6th chords (I have never heard of a dominant sixth, maybe you mean a 13th chord?) can be used in place of major chords. I've seen this occasionally done, but I generally think it lessens the resolve if it's used in place of a tonic major chord.

Suspended chords are pretty useless past passing chords (imo).

I like minor ninths to be formed on the second degree. They sound nice like that. Otherwise, I honestly have no idea.

Most diminished chord (whether they're half diminished or full diminished) will be formed on the leading tone (one semitone below the tonic).

Generally extended chords will also be used so a chord better accompanies a melody. For instance, if in a bar a lead instrument plays the notes C, D, E, G, A and the intended harmony is Dmaj, an arranger may decide to add all the notes that aren't generally in Dmaj (ie, C, E, G) into the Dmaj chord. This means the new chord is D, F#, A, C, E, G which are the notes of a D11 chord.

Also, alot of these chords are formed by composers when they have 4 or more lines going at once. In these situations, sometimes you'll see some rules broken and thus some random chords are formed. You'd need to study (free) counterpoint and voiceleading to understand more.

That's just me dumping my thoughts. I'm going to sit around and wait for a MT regular to come in and rape my post.
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