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Here is a description of 4 different chord techniques used in musical compositions that are a bit unorthadox.  At the bottom, there is also a short description of macro analysis.  This is just a quick reference.  Click to buy the book below if you are looking for a more in depth discussion of these concepts.

Borrowed Chords

Chords that are borrowed from a parallel major or minor key (also called modal mixture)

Chords are often borrowed from minor keys, when the composer is writing in a major key (ii dim, ii half dim, iv, flat 6^th, vii dim 7)

Macro Analysis

Extract the roots of the chords, write the chord symbol

Place slurs where ever there is a circle progression (4^th up, 5^th down)

Place dotted slurs between diminished 7ths to root

This way compositional types are more easily recognized

Neapolitan 6^th chords

A major triad on the lowered second scale degree of a major or minor scale

Example: C Major – Neapolitan 6^th – Db major – root on F

Example: a minor – Bb major, root on D

Minor – lower root

Major – lower root and 3^rd

Usually found going N6 to V or N6 to iv to I or N6 to I 6-4

Augmented 6^th chords

Altered chords to include the interval of an augmented 6^th

Italian 6^th – M3rd – Aug. 6^th

French 6^th – M3rd – Aug. 4^th – Aug. 6^th

German 6^th – M3rd – P5th – Aug. 6^th

Chromatic Mediants

Altered Mediant (3) and Submediant (6) triads and sometimes 7^th chords

In G major – diatonic vi is minor – altered chords E major, Eb major, and Eb minor, diatonic iii is minor – altered chords B major, Bb major, Bb minor

In e minor – diatonic VI is major – altered chords – c minor, C# major, C# minor, diatonic III is major – altered chords – G minor, G# major, G# minor