You can look at it two ways. Let's take an example in C
minor where the French augmented sixth chord will be spelled A♭ C D F♯
:
A♭ C D F♯
can be enharmonically respelled to A♭ C E𝄫 G♭
which is A♭7♭5
.
A♭ C D F♯
can be viewed as an altered iio7
chord, which would be spelled D F A♭ C
, where the alteration is raising the chord's third to create D F♯ A♭ C
, which can then be put in second inversion for the common Fr+6
voicing A♭ C D F♯
, and also it can be viewed as yet another altered dominant, because D F♯ A♭ C
is D7♭5
.
In the quote you posted, the concluding "more rarely..." part is new to me and interesting. I would recommend comparing those resolutions to the resolution of a common tone diminished seventh chord to a major tonic triad, where the common link between the various chords is the shared tritone of ^6
and ♯^2
or ^1
and ♯^4
.
The two rare chords the author presents are analogous to a tritone substitution of a dominant chord, except the chords described are tritone substitutions of a common tone diminished seventh chord.
There is a lot of wacky enharmonic spelling changes, substitutions, and re-arrangement of pitches involved with these concepts. If something isn't clear I can add additional detail.
Of course the very, very important thing to distinguish is how these chord resolve. The Fr+6
standard resolution is to a dominant chord, and to be very standard it will be a triad with a half cadence feel. The point is they are subdominant or pre-dominant in function. Compare that with a jazz tritone substitution which is dominant in function, and the plagal resolution of the "more rarely" used chords.