Here’s a progression ascending in major thirds. The first chord in minor, adding major chord tones to each chord in succession (min/maj,dom7b9#5), with the penultimate chord being major augmented and then resolving to major chords in three different keys (once again major thirds away from eachother). I like the sound of major augmented resolving to major, heard the idea from Bill Evans.

Experimenting with ii-V-I’s but building a triad on the tritone of each chord. For example, F-11 has a B major triad. The most interesting sound might be the I major chords with the minor triads... has the b9, which is honestly- such a cool sound in a major 7 chord. I left the first major chord alone because the key of Eb has more of an open vibe to me. Three different keys once again, but they are unrelated... Eb, A and E.

Started this exercise with a melody line in Dbmajor. Then bass lines in 2 different and contrasting keys. For example, the bass line in ver.1 is a descending scale in D minor... decently far away tonally from Db major. The harmony came last. The chords in version 1 alternate between “open chords” like major and sus chords and altered dominant chords. The chords in version 2 are all “open” with the exception of the first and last chord.

Building voicings thinking about modal grips, maybe more than chord tones- but still making sure they are considered and present in the chord. For example, I used voicings based from F Phrygian For Eb minor in example 1 and A Lydian dominant for E minor in example 2. It’s perhaps a melodic way to think about harmony. You begin to see little worlds pop up within the universe.