In Jazz,the exception IS the rule.My comments were made in the context of mainstream major/minor contemporary rock/pop music.Where an F#aug6 would be commonplace and not that remarkable in a jazz context,that same chord would be a solitary abherration inserted deliberately as a point of suspension or release following a series of plain major/minor chords in a rock/pop context.In Gmaj where the assumed resolution chord is Dmaj,knowledge of music theory permits one to substitute other resolution chords or split the resolution at one's discretion.Thorough knowledge of the traditional,makes the unorthodox not a matter of luck,but a matter of art.

There are always exceptions,individual examples that stray from my theme.Jazz is unique and stands on it's own,musically.However,at the risk of over-simplification,"most" music boils down to root,resolution,and fill-in-the-blanks.The root is generally sacred and written in stone,save modulation,in which the root is simply changed,not made less significant.Almost all of the creativity and fun of writing music is in the resolution and filling in the blanks.The memorability of a melody or chord sequence is penultimate,and therefore repetition and relativity within the key and motif are commensurate to good writing,imho.