"Enharmonic" examples

I fear I haven't quite understood the question, but I would start by meditating on the dominant seventh and polyvalent chords such as the diminished seventh and the augmented triad

A friend was telling me about altered sixth chords ... but I understood very little

Well, the German sixth is a dominant seventh ...

recipe: "dominant seventh with chromatic resolution"

ingredients: any dominant seventh chord (e.g., a V7 of C major)

let's carefully observe the notes that compose this chord: G, B, D, F

the characteristic notes that determine the characteristic tension are essentially 2: B and F.

such tension is perceived more strongly if these two sounds are played simultaneously.

classical harmony tells us that B is called the LEADING TONE and has the tendency to resolve the dissonance by ascending a step;
F is called (in this case) SUB-LEADING TONE because it has the tendency to resolve the dissonance by descending a step.

so the dissonance (or dyad) F/B would resolve into the consonance (or dyad) E/C. right.....according to classical harmony.

but in a more general sense, a dissonance is considered resolved if it transforms into a consonance.

at this point, if this post were a flowchart, 3 alternatives would open up:

1) classical resolution: F descends to E and B ascends to C, on the respective harmonies G7, C+

2) enharmonic resolution: F (considered E#) ascends to F# and B descends to A#, on the respective harmonies G7, F#+

3) resolution/modulation: F and B, in addition to the G7 chord, also belong to the C#7 chord. by virtue of this, the resolution follows the principles of point 2), that is: C#7 resolving to F#+

4) resolution/substitution: the characteristic notes of the C#7 chord are the exact same (even if called differently) as those of the G7 chord. by virtue of this, the C#7 chord can substitute for the G7 chord, taking care to resolve the characteristic notes according to the principles of point 1), that is: C#7 resolving to C+

Thanks ScalaQuaranta, as far as the dominant seventh is concerned, I think I've understood... does it also apply to other seventh chords? I was also curious about the other cases mentioned by Frank... I think he might be on vacation...

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Aspirante wrote:

I was also curious about the other cases mentioned by Frank...

For diminished sevenths, what comes to mind is that D-F-A-Bb is probably in C (whether minor or major), enharmonically D-F-G#-Bb is probably in A minor

For the augmented triad, think of "C E G#" and "Ab C E", the first is a I#5 of C major, the other enharmonically a I#5 of Ab

Thank you Zazza and Zaccaria